| Code |
16637
|
| Year |
3
|
| Semester |
S1
|
| ECTS Credits |
6
|
| Workload |
OT(15H)/TP(45H)
|
| Scientific area |
Cinema
|
|
Entry requirements |
Some bibliography will be made available in English.
|
|
Learning outcomes |
The learning outcomes are directed so that the student is able to know and understand the role of music in a cinematic context. More specifically, it is intended that the student is able to:
1. Understand the sound principles of audiovisuals and the context of music in cinema.
2. Understand the audiovisual place and function of music in a cinematographic context.
3. Identify the organization of music within the structure of the film itself.
4. To promote sound and musical cinematographic analysis.
|
|
Syllabus |
1 Music, narrative and media.
1.1 The possible limits of the concept of music;
1.2 The value of suggestion and associative capacity;
1.3 Music and drama/narrative;
1.4 Music and the new media of the 20th century;
1.5 Music at the dawn of cinema.
2. Sound principles in audiovisual context.
2.1 Sound projections in the image;
2.2 Various types of listening;
2.3 The audiovisual scene and diegesis;
2.5 The "phantom audiovision";
2.6 The audio-logo-visual..
3. The function of music in cinematographic context
3.1 Context:
3.2 Characterization;
3.3 Narrative support;
3.4 Dramatic Emphasis;
3.5 Modulation of realities;
3.6 Unity and diversity;
3.7 The absence of music.
4. Film music and sound analysis.
4.1 Audiovisual location;
4.2 Functional aspects;
4.3 Formal-structural aspects (theme, motif (leitmotif), organization, style, others);
4.4 Complementary aspects (aesthetic, authorial, historical, cultural, symbolic, others).
|
|
Main Bibliography |
Chion, M. (2011). A Audiovisão: Som e Imagem no Cinema. Lisboa: Edições Texto e Grafia.
Cooke, M. (2001). Film Music. In S. Sadie & J. Tyrrell (Eds.), The N. G. Dictionary of Music (2nd Ed.). Macmillan Publishers Limited, London.
Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. Indiana University Press.
Prendergast, R. M. (1992). Film Music: A Neglected Art (2nd Ed). New York: W. W. Norton & Company.
Hickman, R. (2005). Reel Music: Exploring 100 Years of Film Music. New York: W. W. Norton & Company.
Kalinak, K. (2010). Film Music: A Very Short Introduction. Oxford University Press.
Filmografia
Amadeus (1984) – M. Forman
Babel (2006) – A. G. Iñarritu
Blade Runner (1982) – R. Scott
Eyes Wide Shut (1999) – S. Kubrick
Jackie Brown (1997) – Q. Tarantino
King Kong (1933) – M. Cooper, E. Schoedsack
Laura (1944) – O. Preminger
Superman (1978) – R. Donner
The Good, the Bad and the Ugly (1966) – S. Leone
The Jazz Singer (1927) – A. Crosland
Tous les matins du monde (1991) – A. Corneau
|
|
Teaching Methodologies and Assessment Criteria |
According to the general objectives, competences/learning outcomes and syllabus contents of the course, the activities and methodologies are divided as follows:
Theoretical-practical classes to present and debate the theoretical syllabus.
Theoretical-practical classes on film analysis and listening training.
Theoretical-practical work on film analysis and knowledge assessment.
|
|
Language |
Portuguese. Tutorial support is available in English.
|