| 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 |
By the end of the semester, students should be able to:
a) Understand the fundamental principles of non-fiction filmmaking
b) Master the principles and practices of non-fiction film analysis
c) Creatively and critically problematize documentary filmmaking processes
d) Recognize and master the main movements in documentary filmmaking
e) Identify and characterize the documentary approach of Portuguese documentaries from the 1990s
f) Critically situate documentaries from the 1990s within the historical and aesthetic evolution of Portuguese documentary filmmaking
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Syllabus |
1. Nonfiction 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. Point of View, Distance, Subjectivity
2.2. Social Actors: Reenacting and Spontaneity
2.3. Interview, Testimony, Deposition
3. The Mise-en-Scène of Documentary
3.1. The Dispositive
3.2. The Action
3.3. The Word
3.4. The Writing
4. Portuguese Documentary
4.1. Films of the 1990s
4.2. Before and after the 1990s.
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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.
Module 1 (Program Content 1, 2, and 3)
A. Readings and film screenings: 10%
B. Documentary Proposal Dossier: 25%
C. Written exam: 35%
Module 2 (Program Content 4)
D. Written commentary and in-class presentation of two documentaries: 30%
Exam access: minimum of 6 points (average of the two modules)
Attendance requires presence in at least 80% of the classes in each module (students may miss 2 classes in Module 1 and 1 class in Module 2 without justification). Students who exceed this limit of unjustified absences will not have access to the exam period and will have to register for the course the following year.
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Language |
Portuguese. Tutorial support is available in English.
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