Seminário de Especialidade em Cinema e Televisão (not translated)
Code
73201102
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências da Comunicação
Credits
10
Teacher in charge
Francisco Rui Cádima, João Mário Grilo
Weekly hours
2
Teaching language
Portuguese
Objectives
a)Gain a clear vision on the interrelationships between the cinematographic and televisual gestures and contemporaneous art and communication problematics;
b)Be able to make a critical approach with a creative mobilisation of the leading figures in cinematographic and televisual composition in terms of space, timing, dramaturgy and editing;
c)Learn about the genealogical evolution of cinema and television and identify the structural, artistic and communicational transformations and adaptations it has since undergone;
d)Identify the main theoretical, aesthetic and linguistic contributions to the problematic of cinema and television and hold a critical and contemporary perspective on them.
Prerequisites
Subject matter
1.Hermeneutics of gesture within the figurative context of modernity: the relationship between gesture, thought and representing the world. Modern chronophotographism (from Manet to Muybridge and Marey).
2.The emergence of cinematographic gesture and its automatisms.. Philosophic and aesthetic implications of the image-movement concept. Types of movement and the movement-rhythm relationship: filmic tropes and the normativeness of anomaly. Gestural rehearsals from Burlesque film: Lumière, Méliès, Keaton, Chaplin, Eisenstein.
3.From cinema to television. Distinction and hybridity: cinema in television and television in cinema. The television serial.
4.The cinema (once again) 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, Pierre Huyghe. 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.
Crary, Jonathan. Unbinding Vision, October vol. 68 (Spring 1994), pp. 21-44.
Mellencamp, Patrícia. Logics of Television: Essays in Cultural Criticism. Bllomington: Indiana University Press, 1990.
McCarthy, Anna. Ambient Television. Durham: Duke University Press, 2001.
Morgan, Michael, James Shanahan, Nancy Signorielli. Living with Television Now, Advances in Cultivation Theory and Research. New York: Peter Lang, 2012
Mullarkey, John. Refractions of Reality: Philosophy and the Moving Image. Basingstoke: Palgrave Macmillan, 2008
Valiaho, Pasi. Film Culture in Transitio : 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 televisual 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%.