Faculdade de Ciências Sociais e Humanas

Filmology

Code

711011016

Academic unit

Faculdade de Ciências Sociais e Humanas

Department

Ciências da Comunicação

Credits

6

Teacher in charge

Maria Irene Aparício

Weekly hours

4

Teaching language

Portuguese

Objectives

The main objective of this curricular unit is to clarify and analyze the form as, through its history, film has defined itself as a problematic and a way of thinking the world and its reality through its own concepts and signs.
We will observe, in the course of this unit, an epistemological model that reflects this problematic, studying, in detail, the work of Gilles Deleuze (Movement-Image) trying to understand also the historical sense of film in the twentieth century.
Our objective is that each student:
a. Understands the location of film in the field of communication sciences;
b. Understands and makes use of film theory concepts;
c. Is able to understand film in the field of audiovisual industries, both in terms of form and sense;
d. Knows the principal moments of film historiography;
e. Understands the social dimension of film experience.

Prerequisites

None.

Subject matter

I. Introduction to film concepts.
1. Structural concepts (scene, sequence, shot).
2. Imagetic concepts (axe, angle, frame, camera movements).
3. Continuity concepts (field, out of field, counterfield, raccord).
II. Genealogy of Cinema.
Cinema, perspective, and depth of field.
III. Archaeological foundation of film.
1. The ambiguity of film technique and language and its relation with pre-cinema.
2. Film, between culture and physiology. The Lumière cinematograph: from the image in movement to the movement-image.
IV. The Movement-image.
1. Technique and imaginary: the concept of image.
2. The Deleuzian perspective.
2.1 Absolute and relative dimensions of movement: the concept of shot as mediation between part and totality.
V. Film images.
1. The cinematographic perception.
2. Deleuzian taxonomy: perception, action and affection.
3. Perception and editing.
VI. Sound perception.
1. Mute cinema: the sound of silent films.
2. The empire of synchrony.
3. A sound imaginary and its creators

Bibliography

ANDREW, Dudley; Concepts in Film Theory, New York, Oxford University Press, 1995
AUMONT, Jacques; L`Image, Paris, Nathan / HER, 2001
AUMONT, Jacques; Les théories des cinéastes, Paris, Nathan, 2002
DELEUZE, Gilles; L’image-mouvement, Paris, Minuit, 1983
GRILO, João Mário, As Lições do Cinema, Lisboa, Colibri, 2007
KOLKER, Phillip, Film, Form and Culture, New York, McGraw-Hill, 2005

Teaching method

Based on a theoretical and practical teaching method (60%-40%), the exposition of the subjects indicated above will use a system of crossings between theory and practice seeking an effective illustration of the conceptual contents of the program through filmic examples.

Evaluation method

Student’s evaluation is based on their effective knowledge on film theory, and their capabilities to think critically.
Tests: 50% + 50%
Written exercise (max. 8000 car.): 100%

Courses