Cinema
Code
73217154
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências da Comunicação
Credits
10
Teacher in charge
João Mário Grilo
Weekly hours
2
Teaching language
Portuguese
Objectives
a) Gain a clear vision on the interrelationships between the cinematographic gesture and contemporaneous art problematics;
b) Be able to make a critical approach with a creative mobilisation of the leading figures in cinematographic composition in terms of space, timing, dramaturgy and editing;
c) Learn about the genealogical evolution of cinema and identify the structural and artistic transformations and adaptations it has since undergone;
d) Identify the main theoretical and aesthetic contributions made by cinema to the inter-artistic problematic framework and hold a critical and contemporary perspective on them.
Prerequisites
Subject matter
1. Hermeneutics of \"gesture\" and its relevance within the figurative context of modernity: the relationship between gesture, thought and representation. Modern chrono-photographism (from Manet to Muybridge and Marey);
2. The emergence of cinematographic gesture and its automatisms. Constituting cinema as a mappa-mundi and the cartography of the gesture-movement relationship. Philosophic and aesthetic implications of the image-movement concept: the movement-rhythm relationship - filmic tropes. Lumière, Méliès, Keaton, Chaplin, Eisenstein;
3. From gesture in film to the gesture of film: cinema invents itself as an art. Editing, reediting, repetitions: Godard and the Burlesque in form;
4. The cinema beyond Meta-cinema films and the space for cinematographic phantasm in contemporary art. Re-installers of filmic gestuality: Douglas Gordon, Sam Taylor-Wood, Stan Douglas. The cinema as an archival art the reinvention of the gesture in the works of Yervant Gianikian & Angela Ricci Lucchi.
Bibliography
Agamben, Giorgio. Means without Ends: Notes on Politics. Minneapolis: University of Minnesota Press, 2000.
Cameron, Allan. Modular Narratives in Contemporary Cinema. Basingstoke: Palgrave Macmillan, 2008.
Connolly, Maeve. Place of Artists Cinema: Space, Site, and Screen. Bristol: Intellect Ltd., 2009.
Crary, Jonathan. Undinding Vision, October vol. 68 (Spring 1994), pp. 21-44.
Didi-Huberman, Georges. Atlas, How to Carry the World in One´s Back (Presentation of the Exhibition). Madrid: Museo Nacional de Arte Reina Sofia, 2010.
Mullarkey, John. Refractions of Reality: Philosophy and the Moving Image. Basingstoke: Palgrave Macmillan, 2008
Valiaho, Pasi. Film Culture in Transition : Mapping the Moving Image : Gesture, Thought and Cinema circa 1900. Amsterdam, , NLD: Amsterdam University Press, 2010.
Teaching method
Taking into consideration the seminar format, the teaching methodologies seek to enhance the collective working capacities of the group, strengthening components such as the critical discussion of the fundamental texts in the bibliography and other materials proposed by the professor as well as viewing and collectively exploring filmic and artistic works with content relevant to the seminar.
Students shall also provide critical opinions on some of the leading publications and present them over the course of the seminar.
Evaluation method
Evaluation of seminar attendance and participation: 20%;
Critical opinion presentations: 30%;
Writing of essay on a problematic issue covered by the seminar demonstrating due coverage of the
bibliography: 50%.