Cinema and television

Scholar Year: 2018/2019 - 2S

Courses

Head Teacher Responsability Marta Sofia da Luz Marcos Pinho Alves Head

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 4,00 Cátia Salgueiro   4,00

Teaching language

Portuguese

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

The areas of Cinema and Television are fundamental in the education of democratic citizens. Therefore,
to know its evolution, to reflect critically on the production of discourses, and to understand the political strategies, economic and legal factors that influence their democratization are fundamental in the formation of this type of professionals.
It is intended that the students:
- Recognize the social and cultural importance of Cinema and Television.
- Critically understand cinema and television taking into account its history, and recognizing differences and specificities.
- Analyze critically the main themes and problems that cinema and television deal with in the contemporary, local and international, contexts.
- Learn how to use audio and video technologies with intentionality, and ethical awareness:
- to record their professional activities and projects (production of documents / memory);
- to enhance understanding of the contexts in which they intervene (critical observation and research);
- to support and diversify instruments and methods of interdisciplinary intervention and animation;
- as a means of poetic and artistic expression in collaborative projects (communities’ participation).

Syllabus

1. A importância do Cinema e da Televisão para a sociedade.
2. As implicações do desenvolvimento tecnológico na história do Cinema e da Televisão:
- Imagem em movimento (do pré-cinema ao cinematógrafo, cinema ocidental e géneros cinematográficos, cinemas emergentes; contactos e contaminações entre cinema e televisão);
- Invenção da televisão (história e consumos culturais, problemáticas e géneros específicos, tendências da programação televisiva, novos formatos e internet);
3. Linguagem cinematográfica e linguagem televisiva:
- Referências e metodologias para reconhecimento e análise crítica de linguagens, géneros, abordagens e formatos;
- Diferentes processos de criação e fabricação em contextos colaborativos de intervenção e de investigação;
4. Metodologias de análise crítica de filmes.
5. Etapas de produção de documentos audiovisuais:
- Pesquisa e desenvolvimento, produção e pós-produção.
- Linguagens, práticas, técnicas; registo/documento, entrevista e inquérito, criação poética e cinematográfica, experiências lúdicas e de investigação em contextos específicos.
- Dimensões éticas e questões legais implicadas no registo de imagens de pessoas e actividades.

Demonstration of the syllabus coherence with the UC intended learning outcomes

The proposed contents allow students to access the theoretical and practical knowledge necessary to develop critical awareness in the consumption, creation and mobilization of cinematographic and television references and pratices while working in the field of animation and sociocultural intervention.

Teaching methodologies

Sessions are focused on plenary or small group discussions, based on information provided directly by the teacher or using written texts and audiovisual documents. Practical and progressive exercises will be carried out, of mainly two kinds: viewing and analyzing films; initiation to the creation and production with audiovisual means. These exercises are to be to developed in class and autonomously. Students are invited to present and discuss the results/products of the different activities and exercises.

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

The proposed methodologies promote the mobilization of interdisciplinary knowledge, the continuous discussion of proposals and experiences, and the formation of critical and sensitive approaches (through observation and investigation with the camera, development of critical thinking and reflection on contemporary social problems), thus contributing to the dynamics of sociocultural intervention projects’ development with audiovisual resources and potentialities.

Assessment methodologies and evidences

The work developed in and out of class will be subject to continuous/formative and summative assessment:
A) Research, production and editing of an audiovisual project taking into account the interests and practices of Animation and Sociocultural Intervention: 40%.
B) Practical exercises produced in classroom as well as in autonomous worktime (recording and editing, critically watch and analyze audiovisual artifacts): 30%.
C) Presence and participation in debates and other the classroom activities: 30%.

Assement and Attendance registers

Bibliography

AREAL, Leonor (2011). Cinema Português: um país imaginado (Volumes I e II). Lisboa: Edições 70.
BERGALA, Alain (2007). La Hipótesis del Cine. Pequeno tratado sobre la transmissión del cine en la escuela y fuera de ella. Barcelona: Laertes Educación.
BALLÓ, Jordi & BERGALA, Alain (2016). Motivos Visuales del Cine. Barcelona: Galaxia Gutenberg.
CÁDIMA, Francisco Rui (2011). Televisão, o Digital e a Cultura Participativa. Lisboa: Media XXI.
GARDIES, René (2006). Compreender o Cinema e as Imagens. Lisboa: Texto&Grafia.
MARNER, Terence (2007). Realização Cinematográfica. Lisboa: Edições 70
MILLER, Toby (ed.) (2002). Television Studies. Londres: BFI.
THOMPSON, Kristin/BORDWELL, David (2003). Film History: an introduction. Boston: McGraw Hill Higher Education.
TORRES, Eduardo Cintra (2011). Televisão e Serviço Público. Lisboa: FFMS.
TRAQUINA, Nelson (1997). Big Show Media – Viagem pelo Mundo do Audiovisual Português. Lisboa: Notícias Editorial.

Observations

- The tutorial follow-up is meant to support the accomplishment of the planned works/assessments and the clarification of doubts. This follow-up can be complemented with distance support resources, such as the online communication platform available at ESE (moodle).
- Student-workers should negotiate with the teacher the particular/adequate conditions of their assessment during the first three weeks of classes.
- Works that resort to total or partial plagiarism will be marked zero.