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Syllabus |
1. Non-fiction cinema
1.1. Fundamental Principles of Documentary
1.2. Reality: the visible and the invisible
1.3. Modes and Aesthetics of Documentary
2. Research and point of view
2.1. Ethnography as a method
2.2. Point of view, distance, subjectivity
2.3. Social Actors: staging and spontaneity
2.4. Interview, Statement, Testimony
3. The Mise-en-Scène of the Documentary
3.1. The writing
3.2. The word
3.3. The action
3.4. The device
4. Experimental and Expanded Cinema
4.1. Concept of device in Cinema
4.2. Expanded Cinema - Synesthesia, Syncretism and Metamorphosis; Experience, Kinesis and Synergy
4.3. Experimental Cinema and continuity lines with video art
4.3.1 European Avant-garde of the 1910s/20s
4.3.2 North American Vanguard
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Main Bibliography |
Barraud, C. & Sena, N. org. (2010). Heddy Honigmann: Ouvir as Histórias. Indie Lisb.
Bernard, S. C. (2016). Documentary storytelling. Focal Press, London.
Comolli, J. L. (2008). Ver e Poder. UFMG Ed, Belo Horizonte.
Grierson, J. (2016). “Princípios iniciais do documentário”, in: Tradição e reflexões, pp. 5-18. Covilhã: Labcom
Guzmán, P. (2017). Filmar o que não se vê. Edições Sesc.
Nichols, B. (2017). Introduction to documentary (3rd edition). Cap. 1, 6 e 7. Indiana University Press.
Ramos, F. P. (2012). A mise-en-scène do documentário: Eduardo Coutinho e João Salles. Rebeca-Revista Brasileira de Estudos de Cinema e Audiovisual, 1(1).
A Nostalgia da Luz (2010), Patrício Guzman
I’m Not Your Negro (2016), Raoul Peck
Metal y Melancolia (1994), Heddy Honigmann
My Stolen Planet (2024), Farahnaz Sharifi
Os Respigadores e a Respigadora (2000), Agnés Varda
Stories We Tell (2012), Sarah Polley
The Act of Killing (2012), Joshua Oppenheimer
The Missing Picture (2013), Rithy Panh
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