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Audiovisual Language

Scholar Year: 2019/2020 - 2S

Code: CS200016    Acronym: LA
Scientific Fields: Ciências da Comunicação
Section/Department: Communication and Language Sciences

Courses

Acronym N. of students Study Plan Curricular year ECTS Contact hours Total Time
CS 36 Study Plan 4,0 48 108,0

Teaching weeks: 15

Head

TeacherResponsability
Marta Sofia da Luz Marcos Pinho AlvesHead

Weekly workload

Hours/week T TP P PL L TC E OT OT/PL TPL O S
Type of classes

Lectures

Type Teacher Classes Hours
Contact hours Totals 1 3,20
Marta Alves   3,20

Teaching language

Portuguese

Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)

At the end of this curricular unit, the student should be able to recognize and apply basic tools of analysis and interpretation of the moving image and also:
- Identify the fundamental constituent elements of audiovisual languages;
- Recognize the main parameters of analysis of moving images, being able to use them to interrogate critically any audiovisual document;
- Understand the main mechanisms by which moving images produce meaning and affect the viewer;
- Identify the main historical modes of the moving image and its affectation due to technological, economic, political, social, cultural and aesthetic phenomena.

Syllabus

1. The construction of audiovisual languages and their historical transformation.
2. On the digital age: from the specificity of the medium to the end of "pure languages".
3. The stages of audiovisual production: pre-production, production and post-production.
4. The units of signification: from shot to sequence.
5. Space, framing and composition.
6. The Scale of shots.
7. The axis and viewing angles.
8. Objectives and depth of field.
6. Camera movements.
7. The continuity
8. The lighting and the color.
9. The sound.
10. The assembly.
11. The narrative.


Demonstration of the syllabus coherence with the UC intended learning outcomes

The first three topics of the programmatic contents are contextualizadores of the work to realize. The following topics refer to the various elements to be taken into account in the analysis of an audiovisual document, a task that the student is expected to be able to complete at the end of the course unit.

Teaching methodologies

Each class will consist of two parts.
In the first part, which will last 60 minutes, the practical follow-up of the various stages of the proposed work is foreseen.
The second part, which will last 90 minutes, will be composed of an expository section, during which a presentation of the main concepts will be made, followed by the projection of excerpts of audiovisual objects illustrative of the concepts previously discussed for comment and collective analysis.

Due to the exceptional and temporary measures related to the epidemiological situation of the new Coronavirus and to the provisions made by the Government with a view to regulating and operationalizing the State of Emergency enacted in Portugal, tutorial sessions with pre-defined working groups and plenary sessions will be held at distance in synchronous period with the preset classroom time (exceptionally, for the convenience of the participants, other days and times can be scheduled). All activities and exercises will be based on texts (script, visual, sound or audiovisual) previously indicated or made available to students and aim at their analysis and discussion.
The online devices to be used will be the following:
Private Facebook group (GPF) for the course (created at the beginning of the semester as a complement to the face-to-face activity), intended for document sharing, meeting and discussion.
Zoom, Skype, Whatsapp for classes and tutoring meetings with work groups, synchronous with the time of the face-to-face classes (other days and times can be defined if deemed necessary).
E-mail and Messenger for individual contacts.

Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes

The methodology adopted in the first part of the lesson is intended to allow students to test the connections between theory and its application in a work in progress.
The teaching methodologies adopted in the second part intend to develop the ability to reconcile theoretical reflection with its practical application in concrete examples, allowing to contribute to the deepening of the understanding of the concepts studied.

Due to the exceptional and temporary measures related to the epidemiological situation of the new Coronavirus and to the provisions made by the Government with a view to regulating and operationalizing the State of Emergency enacted in Portugal, the previous evaluation proposal was changed for a new one considered more appropriate to the situation :

1. Group work (2/3 elements): work along the lines previously defined and whose guidelines are contained in a specific document distributed to students at the beginning of the school semester. [70% final grade 60% product + 10% participation in tutorial meetings]
2. Group work (4/5 elements): Exercises requested in class and carried out in groups. [30% final grade]

Assessment methodologies and evidences

1. A group work [60%].
Elaboration of a critical analysis on an audiovisual document. The selection will be made from a list provided by the teacher and implies prior registration.

2. An assessment test [40%]

A specific evaluation paper will be distributed to students explaining the drafting standards and deadlines for each element of assessment.

Attendance system

does not apply

Bibliography

AUMONT, Jacques; MARIE, Michel; BERGALA, Alain [et al.] (2004 [1983]), Esthétique du Film, Paris: Nathan.
AUMONT, Jacques; MARIE, Michel (2010 [1988]) A Análise do Filme. Lisboa: Texto & Grafia.
AUMONT, Jacques; MARIE, Michel (2009), Dicionário Teórico e Crítico do Cinema. Lisboa: Texto & Grafia.
BARBERO, Martín; REY, Germán (2001) Os Exercícios do Ver: Hegemonia Audiovisual e Ficção Televisiva, São Paulo: SENAC.
BEYLIE, Claude (1997 [1989]) Os Filmes-Chave do Cinema, Lisboa: Pergaminho.
BORDWELL, David e THOMPSON, Kristin (2008) Film Art: An Introduction. Nova Iorque: McGrawhill.
DANCYNGER, Ken (2007), The Technique of Film and Video Editing: History, Theory and Practice. Burlington e Oxford: Focal Press
DELEUZE, Gilles (2004), A Imagem-Movimento: Cinema I, Lisboa: Assírio & Alvim.
DELEUZE, Gilles (2005), A Imagem-Tempo: Cinema II, Lisboa: Assírio & Alvim.
ESQUENAZI, Jean-Pierre (2011 [2009]) As Séries Televisivas. Lisboa: Texto & Grafia.
FARCHY, Joëlle (2004), L’ Industrie du cinema, Paris: Puf.
GARDIES, René (org.) (2008) Compreender o Cinema e as Imagens. Lisboa: Texto & Grafia.
GEADA, Eduardo (1998), Os Mundos do Cinema: Modelos Dramáticos e Narrativos no Período Clássico, Lisboa: Notícias.
GRILO, João Mário (2006), O Homem Imaginado: Cinema, ação, pensamento, Lisboa: Horizonte.
HAYWARD, Susan (2006) Cinema Studies: The key concepts. Londres e Nova Iorque: Routledge.
JOURNOT, Marie­Thérèse (2009) Vocabulário de Cinema. Lisboa: Edições 70.
KERRIGAN, Finola (2010), Film Marketing. Burlington: Butterworth-Heinemann.
MANOVICH, Lev (2001), The Language of New Media, Cambridge: MIT Press.
MARNER, Terence (1999), A Realização Cinematográfica, Lisboa: Edições 70.
MAZZOLENI, Arcangelo (2005 [2002]), O ABC da Linguagem Cinematográfica: Estruturas, análises e figuras na narração através de imagens. Avanca: Cineclube de Avanca.
MIRZOEFF, Nicholas (1999) (Ed.) The Visual Culture Reader. Londres: Routledege.
MIRZOEFF, Nicholas (2001) An Introduction to Visual Culture. Londres: Routledge.
MITCHELL, W. J. T. (1994), Picture Theory: Essays on verbal and visual representation, Chicago e Londres: The University of Chicago Press.
MONACO, James (2009 [1977]) How to Read a Film: Movies, Media, and Beyond. Oxford: Oxford University Press.
MOSCARIELLO, Ângelo (1985), Como ver um filme, Lisboa: Presença.
STAM, Robert (2005 [2000]), Film Theory: An Introduction, New York: Blackwell.

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Página gerada em: 2024-05-04 às 03:52:22