| Code |
13593
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| Year |
1
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| Semester |
S1
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| ECTS Credits |
6
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| Workload |
OT(15H)/TP(45H)
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| Scientific area |
Cinema
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Entry requirements |
Bibliography and filmgraphy may be made available in foreign languages.
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Mode of delivery |
face-to-face
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Work placements |
not applicable
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Learning outcomes |
This class aims at developing practical film skills, namely the ability to visually idealize the film even before filming and to acquire practical experience in planning, conceptualizing, filming and editing scenes and sequences, both through scene decoupage as well as sequence shots, using the camera as a meaning-creating element in the construction of the cinematographic narrative.
By the end of the semester students must achieve the following objectives:
1. Master the specificities of each phase of cinematographic creation, from the concept to the conception of the final film;
2. Know and apply the elements and rules of cinematographic language;
3. Explore various creative approaches to the script;
4. Handle image and sound equipment autonomously, in design, capture and post-production;
5. Critically analyze the work developed.
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Syllabus |
1. Production
1.1 The creative role of the camera
1.2 Narrative and creative possibilities of cinematic language
1.3. The construction of the mise-en-scéne
2. Image
2.1. Fundamentals and properties of light: natural and artificial
2.2. Conceptual tools of cinematography
2.3. Shadow
3. Sound
3.1. Direct sound capture
3.2. Foley and ADR
3.2. Audio post-production
4. Editing
4.1. Structure and rhythm
4.2. Rough cut and fine cut
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Main Bibliography |
ALVES, P. & GARCIA, F. (Eds). (2017). Oficios del cine: manual para prácticas cinematográficas. Madrid: Icono 14/CITCEM.
CHION, M. (2011). A audiovisão: Som e Imagem no Cinema. Lisboa: Texto & Grafia.
KATZ, S. (1990). Film Directing Shot by Shot: visualizing from concept to screen. Stoneham: Micahel Wise Productions.
MASCELLI, Joseph V, The Five C's of cinematography: Motion picture filming techniques, Silman-James, cop. 1965
MURCH, W. (2001). In The Blink Of An Eye – A Perspective on Film Editing. Los Angeles: Silman-James P.
PROFERERS, N. T. (2008). Film Directing Fundamentals. Waltham: Focal P.
Meshes of the Afternoon (1944), Maya Deren
O Coro (1982), Abbas Kiarostami
Six Shooter (2004), Martin McDonagh
Slimane (2023), Carlos Pereira
Tão pequeninas, tinham o ar de serem já crescidas (2024), Tânia Dinis
Tramway (1966), Krzysztof Kieslowski
Un Chant D'Amour (1950), Jean Genet
Une Femme Douce (1969), Robert Bresson
Wasp (2003), Andrea Arnold
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Teaching Methodologies and Assessment Criteria |
The Film Workshop course was conceived as a laboratory for visual, aesthetic, and technical exploration, focused on developing ideas that can be further developed later. Thus, each exercise, viewing, and discussion should be anchored in the creation of a bank of ideas and practical experiences that students can use to develop their project.
The course is divided into four areas: directing, cinematography, sound, and editing. Students will be divided into teams, taking on one of these roles, and developing practical work under the guidance of course professors.
Important Note: This CU promotes individual and collective creativity, respecting copyright, and therefore, the use of Artificial Intelligence software or platforms is not permitted. The use of AI in the creation, development, or production of content and/or text is considered fraud, and the measures contained in Article 134 of the UBI regulations will be applied.
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Language |
Portuguese. Tutorial support is available in English.
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