| Código |
13107
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| Ano |
3
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| Semestre |
S1
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| Créditos ECTS |
6
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| Carga Horária |
OT(15H)/TP(45H)
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| Área Científica |
Cinema
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Mode of delivery |
Face-to-face.
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Work placements |
--
No
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Learning outcomes |
The learning objectives are directed so that the student is able to know and understand the role of music in a cinematic context. More specifically, it is intended that the student is able to:
1. Understand the sound and musical principles of film and audiovisual.
2. Understand the place and function of music in a cinematographic context.
3. Identify the organization of music within the structure of the film itself.
4. To promote sound and musical cinematographic analysis.
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Syllabus |
1. Idiosyncratic aspects of music.
1.1 The possible limits of the concept of music;
1.2 Abstraction, subjectivity and associative power;
1.3 Music as an autonomous and hybrid element;
1.4 The dawn of music in cinema.
2. Sound principles in audiovisual context.
2.1 Sound projections in the image;
2.2 Various types of listening;
2.3 Vertical and horizontal aspects;
2.4 The audiovisual scene and diegesis;
2.5 The "audiovisual phantom";
2.6 The types of speech.
3. The function of music in cinematographic context
3.1 Context:
3.2 Characterization;
3.3 Narrative support;
3.4 Dramatic Emphasis;
3.5 Modulation of realities;
3.6 Unity and diversity;
3.7 The absence of music.
4. Film music and sound analysis.
4.1 Audiovisual location;
4.2 Functional aspects;
4.3 Organizational and structural aspects;
4.4 Complementary aspects (aesthetic, authorial, cultural, symbolic, historical, other).
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Teaching Methodologies and Assessment Criteria |
Due to the objectives, learning outcomes and Course unit contents/Syllabus of the course, activities and methodologies are divided as follows: Theoretical lectures with discussion about the syllabus concepts and issues. Lectures with film analysis and auditory training. Presentation of analysis and research works by the student and discussion of them with colleagues.
The bibliography contains texts selected for reading and deepening the concepts presented in the contact sessions.
To assess performance and knowledge, theoretical and practical cinematographic analysis work will be carried out, a frequency of knowledge assessment and elements of attendance and the ability to participate and discuss in the classroom will be collected.
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Main Bibliography |
Burt, G. (1994). The Art of Film Music. Boston: Northeastern University Press.
Chion, M. (2011). A Audiovisão: Som e Imagem no Cinema. Lisboa: Edições Texto e Grafia.
Cooke, M. (2001). Film Music. In S. Sadie & J. Tyrrell (Eds.), The New Grove Dictionary of Music and Musicians (Second Ed.). Macmillan Publishers Limited, London.
Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. Indiana University Press.
Hickman, R. (2005). Reel Music: Exploring 100 Years of Film Music. New York: W. W. Norton & Company.
Kalinak, K. (2010). Film Music: A Very Short Introduction. Oxford University Press.
Filmography:
Amadeus (1984) – Milos Forman
Babel (2006) - Alejandro G. Iñarritu
Blade Runner (1982) – Ridley Scott
East of Eden (1955) – Elia Kazan
Eyes Wide Shut (1999) - Stanley Kubrick
Laura (1944) - Otto Preminger
Paris, Texas (1984) - Win Wenders
Taxi Driver (1976) - Martin Scorsese
The Good, the Bad and the Ugly (1966) – Sergio Leone
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| Language |
Portuguese. Tutorial support is available in English.
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