| Code |
16615
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| Year |
2
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| Semester |
S2
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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 |
Some bibliography and filmography may be made available in foreign languages.
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Learning outcomes |
At the end of the semester, students must:
a) Understand the fundamental principles of non-fiction film
b) Master the principles and practices of non-fiction film analysis
c) Creatively and critically problematize film creation processes
d) Apply fundamental practices and methodologies of scientific research
e) Acknowledge and master the main movements of experimental and expanded cinema
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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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Teaching Methodologies and Assessment Criteria |
The curricular unit takes place in a theoretical-practical regime, through expository/participatory classes that allow the introduction, development and reflection on the contents covered in the curricular unit. This methodology is complemented by reading assignments and screening of films or excerpts to illustrate and explore the learning contents in detail.
During the semester, under a continuous assessment regime, the student carries out three assignments that correspond to the learning contents and teaching methodologies adopted in the curricular unit.
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Language |
Portuguese. Tutorial support is available in English.
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