Fotografia e Cinema (not translated)
Code
722011133
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências da Comunicação
Credits
10
Teacher in charge
Maria Margarida Godinho
Weekly hours
3 letivas + 1 tutorial
Teaching language
Portuguese
Objectives
1.Understanding the way photography and cinema are connected by the realist apparatus;
2.Questioning ontologies of photography and film;
3.Understanding the tensional and contiguity relationship between photography and cinema in contemporary culture, through a sort of paradigmatic cases;
4.Understanding which authors better underline the question of realism;
5.Constructing a conceptual vocabulary about photography and cinema, through a specific bibliography
Prerequisites
None.
Subject matter
The problem of realism in photographic image and cinema has divided scholars all along the xx century, crossing the approaching of genders as portrait, street photography, film noir, ou representing science. What is the relationship between the realism as convoked by photographic camera and realism promoted by movies? In which way the still image is
intertwined with the sequence captured by the movie camera? What remains from ones history to the others? How to understand the total realism of Bazin and the spectral realism of Barthes? The different forms in which indexicality is worked out in the still and in the moving image, the different objects that they allow, the reception they work out will be some of the main topics of analysis and discussion within this seminar, settled upon the bibliography.
Bibliography
BECKMAN, Karen e Jean Ma (org) Stillmoving. Between Cinema and Photography. Duke University Press.
BATE, David (2010) The memory of Photography. Photographies, 3:2, 243-257.
BAZIN, André (1958) O que é o Cinema. Lisboa: Livros Horizonte, 1992.
BELLOUR, Raymond (1990) Entre-Images. Paris: Seuil.
DOANE, Mary Ann (2002). The Emergence of Cinematic Time. Modernity, Contingency the Archive.. Boston: Harvard University Press.
GUNNING, Tom (1997) In Your Face: Physiognomy, photography and the Gnostic Mission of early Film. Modernism/Modernity, 4.1 (1997), pp 1-29.
Teaching method
The methodology is one of analysis, critical insight and open discussion of texts as well as of films and photographies. Each
week students must read the assignments previously indicated so that they can participate actively in the seminar.The
Evaluation method
Evaluation consists on:
1. Assiduity to the seminar (10%);
2. Oral presentation of the paper (40%);
3. A paper about 4000 words (50%).