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Audiovisual pre-production

Scholar Year: 2020/2021 - 1S

Code: PA07    Acronym: PPA
Scientific Fields: Línguas e Literaturas Estrangeiras
Section/Department: Communication and Language Sciences

Courses

Acronym N. of students Study Plan Curricular year ECTS Contact hours Total Time
TSPPA 24 5,0 60 135,0

Teaching weeks: 15

Head

TeacherResponsability
Pedro Miguel Rebelo FelícioHead

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
João Pedro Duarte   3,53
Pedro Felício   1,46

Teaching language

Portuguese

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

To understand the various stages of audiovisual production (pre-production, production, post-production, distribution and exhibition);
To recognize the main features of the audiovisual pre-production (research, writing, planning, management);
To understand and problematize copyright and related issues;
To recognize and to practice the main responsibilities in audiovisual teamwork;
To create screenplays for various audiovisual genres and formats;
To plan an audiovisual production, taking into account the specificity of the project and the use of appropriate techniques and technologies;
To organize the search of locations for audiovisual projects and build pre-production dossiers.

Syllabus

1. Writing
- Ideas, research and development;
- Synopsis, main characters and sets, screenwriting.

2. Planning
- Master scenes, storyboard;
- Locations.

3. Management
- Teams and tasks;
- Logistical support and documentation;
- Copyright and related issues;
- Financing and support.

Software

CeltX


Demonstration of the syllabus coherence with the UC intended learning outcomes

The course unit has a practical and collaborative methodological approach, and is oriented towards collective discussion and development of critical thinking and know-how, in a gradual learning of the specificities of audiovisual languages and its history.
It promotes the recognition and experimentation of formal and expressive potentials of moving image in general and of cinema in particular, focusing on the early stages of creating an audiovisual project, through:
- critical viewing and analysis of works of different genres, formats and modes production;
- exploration of different approaches to screenwriting;
- exercise of research practices;
- study and practice of non-competitive relationship between words and images;
- developing screenplays designed specifically for expressive universes that combine images and sounds;
- deepening of project based and interdisciplinary processes;
- maintaining close ties between intentions and form – thus enhancing the qualities of the projects (whether poetic, plastic or cinematographic, communicative, discursive or reflexive, etc.), and exercising the ability to strengthen a broader relationship with the world;
- and finally through the production-wise search of methods and planning solutions, forged in team spirit, and in the coordination of skills and singularities of its different members, aiming the better management and making of audiovisual projects.

Teaching methodologies

a) Presentation of concepts and key issues for the understanding of audiovisual language, followed by collective discussion of works and various references (poetic, literary, graphic, filmic, or multimedia).
b) Parallel and gradual development of screenwriting and planning exercises (individual and collective).
c) Development of an individual audiovisual project, in collaborative and team processes, which will be presented and discussed throughout its various phases.

The students will access the theoretical and technical knowledge necessary for the creation, research and planning of audiovisual narratives, and for the preparation of a subsequent production phase. The classes will feature oral presentations supported by various materials (texts, visual and complementary audiovisual documents) and students will be given assignment briefs to be developed during and outside classes.
Although the texts and images that support practical exercises are made available to the class the teacher can request the students to research further material for the development of individual and collective exercises.
At the end of each class there is a moment to take stock of the assignment briefs’ progress and to reevaluate deliveries of working and final versions.

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

The methodological approach described in a) is intended to enhance the comprehension of various types of works and contexts, analyzing them in terms of creation processes and production models. It favors the deepening of discussion skills, as well as analytical and critical thought, through the study and comparison of works, the contact with the thinking and making of different writing and directing practices, and the recognition of the importance of a screenplay and a pre-production strategy.

The methodology described in b) intends to provide a significant discovery of creation processes and calls for the immediate development of production solutions, while verifying in practice the links between concepts and contents presented before, in a perspective of fluid and continuous assessment.

The proposed methodology described in c) aims to sediment knowledge of the different stages of audiovisual production, recognizing that it involves several essential authorships and crafts whilst exercising the skills associated to creation and project management.

Assessment methodologies and evidences

The assessment is continuous and takes into account the following elements:
1. Participation in discussions and projects developed by colleagues, and delivery of practical exercises developed in class [40%]
2. Development of a screenplay for an audiovisual project, throughout its different phases [40%]
3. Presentation of a production dossier, suitable to the characteristics and stage of development of the audiovisual project [30%]

Specific documents about the evaluation will be distributed to students, with detailed assignment briefs for each element referred above.

The works will only be considered if delivered in hands to the teacher. No work placed on the teacher’s locker or sent by email will be accepted.

For each 24h of unjustified delay in the delivery of any of the elements of the assessment, a point (1/20) will be discounted in the mark given.

Any work that incurs into full or partial plagiarism will be rated zero (0/20).

Attendance system

Regular students must be present in 75% of classes, participate in discussions and in team work, analyze the presented texts, productions and support documents presented by the teacher, develop the assignment briefs and present them on the specified dates.

The student-workers should negotiate with the teacher the particular conditions of their assessment during the first two weeks of the academic calendar.

Assement and Attendance registers

Description Type Tempo (horas) End Date
Attendance (estimated)  Classes  0
  Total: 0

Main Bibliography

COMPARATO, D.;Da Criação ao Guião: A Arte de Escrever para Cinema e Televisão, Lisboa, Pergaminho, 1998 [1993]
GUERRA, Tonino;Histórias para uma Noite de Calmaria, Lisboa, Assírio & Alvim, 2002
LOPES, Sandra;Manual Prático de Produção, Lisboa, Chiado Editora, 2014
MADDEN, Matt;99 Ways to Tell a Story: Exercices in Style, Nova Iorque, Chamberlain Bros., 2005
QUENEAU, Raymond;Exercícios de Estilo, Lisboa, Colibri, 2000 [1947]
SHEPARD, Sam;Crónicas Americanas, Lisboa, Difel, 2002
TARKOVSKI, Andrei;Esculpir o Tempo, São Paulo, Martins Fontes, 1998 [1986]

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Página gerada em: 2024-03-28 às 14:25:53