| Code |
16620
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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 |
1. Be fluent in written Portuguese.
2. Some bibliography and filmography will be available in foreign languages.
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Learning outcomes |
The main objective of this course unit is to understand the specificity of cinematic narrative in relation to others (literary, dramatic, etc.).
By the end of this course unit, the student should be able to:
1. Identify the elements and principles of cinematic narrative.
2. Understand the similarities, differences and relations between the cinematic, theatrical and literary narratives.
3. Understand the differences between fictional and documental narratives.
4. Identify the cinematic narrative in its thematic and formal multiplicity.
5. Develop the critical spirit in the analysis and assessment of cinematic narratives.
6. Do research and manage scientific information.
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Syllabus |
1. Narrative and narratology
1.1. Concepts
1.2. Phases: oral, written and cinematic
2. Fictionality
2.1. Concept
2.2. Verisimilitude
2.3. Presence
3. Characters
3.1. Concept
3.2. Importance
3.3. Conception
3.4. Evolution
3.5. Function
4. Space
4.1. Concept
4.2. Functions
4.3. Types
5. Time
5.1. Changes in chronological order
5.2. Changes in duration
6. Narrator
6.1. Concept
6.2. Functions
6.3. Presence
6.4. Focalization
7. Structure
7.1. Concept
7.2. Acts
8. Classical narrative
8.1. Concept
8.2. Public
8.3. Genres and main themes
8.4. Types of characters
8.5. Structure
9. Contemporary narrative
9.1. Concept
9.2. Public
9.3. Genres and main themes
9.4. Types of characters
9.5. Structure
10. Intertextuality
10.1. Concept
10.2. Allusion
10.3. Parody
10.4. Crossover
10.5. Tribute
10.6. Pastiche
11. Cinematic adaptation
11.1. The matter of fidelity
11.2. Literary text vs. cinematic text
11.3. Levels of adaptation
12. Genres
12.1. Concept
12.2. Types
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Main Bibliography |
Bibliography
Bal, Mieke. Narratology. Toronto: Toronto UP, 2004.
Bordwell, David. Narration in the Fiction Film. New York: Routledge, 1985.
Braningan, Edward. Narrative Comprehension and Film. New York: Routledge, 1992.
Chatman, Seymour. Story and Discourse. Ithaca: Cornell UP, 1980.
Cook, David A. A History of Narrative Film. New York: Norton, 1996.
Genette, Gérard. Discurso da narrativa. Lisboa: Vega, 1995.
Mancelos, João de. Introdução à narrativa cinematográfica. Lisboa: Colibri, 2017.
Parent-Altier, Dominique. O argumento cinematográfico. Lisboa: Texto & Grafia, 2011.
Prince, Gerald. Narratology. Berlin: Mouton, 1982.
—. A Dictionary of Narratology. Lincoln: U of Nebraska P, 2003.
Filmography
Coppola, Francis Ford. The Godfather. Paramount, 1972.
Hopper, Dennis. Easy Rider. Pando, 1969.
Kubrick, Stanley. 2001: A Space Odyssey. MGM, 1968.
Malick, Terrence. Badlands. Warner, 1973.
Scorcese, Martin. Taxi Driver. Columbia, 1976.
Tykwer, Tom. Lola Rennt. X-Filme Creative Pool, 1998.
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Teaching Methodologies and Assessment Criteria |
Teaching methodologies correspond to the following strategy: 1. Explanation of an aspect of cinematic narrative theory. 2. Analysis, with the students, of meaningful examples withdrawn from movies. 3. Suggestion of exercises destined to develop the critical spirit. Therefore, with the help of the professor and colleagues, the student reaches the main objective of reflecting upon the specificity of cinematic narrative, in relation to characters, narrator, space, time, structure, intertextuality and strategies of adaptation of the literary narrative. The final mark results from two tests, each worthing 50%.
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Language |
Portuguese. Tutorial support is available in English.
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