Class Creation and Development Processes in Film and Audiovisual

This course is divided into two strands: theoretical and practical. The theoretical strand will take a look at the foundations of cinematographic language and value the moving image (in its different formats, durations and genres) as a cultural object. An approach will be made to the history and theory of cinema, namely documentary, which will cover different phases, styles, authors, creative practices and discursive models. The main objective is to provide students with fundamental knowledge about: 1) development of creative processes in cinema and audiovisual; and 2) the multifaceted reality of the filmed documentary. The theoretical strand is complemented by a practical dimension, which aims to provide the application of acquired knowledge, develop a creative process and, in this process, gain awareness of cinematographic and audiovisual objects within the scope of communication sciences.

Not applicable

1 – Creating the Image 1.1 Shot scales, angles and notion of continuity 1.2 Montage and storytelling 1.3 Organization of shooting teams 1.4 Style, aesthetic resources and use of sound and color for dramatic purposes 2 – Documentary History 2.1 Pioneers and image hunters 2.2 Classic period 2.3 During and after the New Waves. 2.4 Era of television and streaming 3 – Documentary Theory 3.1 Information and discursivity in cinema and audiovisual 3.2 Types of documentary according to Bill Nichols: poetic, expository, reflective, observational, performative and participatory. 3.3 Relationship between documentary image and fiction cinema 3.4 Mock-documentary, manipulation and fake news. 3.5 Technology: digital vs analog cinema 3.6 Ethical issues of documentary images 3.7 Cinema and audiovisual and society: concave and convex reflections 4 – The camera 4.1 From professional camera to cell phone use 4.2 Capturing the image for editing 4.3 Image and different genres: similarities and differences

Theoretical Strand: The introduction of a course with a program focused on documentary cinema and its valorization as a cultural object in a Communication Sciences bachelor's makes it possible to strengthen the teaching offer and provide students with new theoretical and practical tools. The course works through two complementary strands, one theoretical and the other practical. The sessions will involve exposure of material (in conjunction with the syllabus), viewing of film excerpts and open discussion between teachers and students. Consolidation of study and knowledge outside the classes. Practical Strand: The application of theoretical knowledge through successive practical exercises with a view to the correct use of video cameras, from professional ones to personal cell phones. Classes will be essentially practical and demonstrative.

— ANTERO, João (2007). Operações de Câmara: Gramática de captação de imagens em movimento. Lisboa: Edições Lusófonas. — ARAÚJO, Nelson (2021). História do Cinema: Dos primórdios ao cinema contemporâneo. Lisboa: Edições 70. — AUFDERHEIDE, Patricia (2008). Documentary Film: A Very Short Introduction. Oxford University Press. — GODARD, Jean-Luc (1980). Introdução a uma Verdadeira História do Cinema. Tradução de Antonio de Padua Danesi. São Paulo: Martins Fontes (1989) — JOURNOT, Marie-Thérèse. (2020). Vocabulário de Cinema. Lisboa: Edições 70 — KRACAUER, S. (1947). From Caligari to Hitler. A Psychological History of The German Film. Princeton University Press (2019) — NAGIB, Lúcia (2011). World Cinema and the Ethics of Realism. Londres: Continuum — ­NICHOLS, Bill (1991). Representing reality: issues and concepts in documentary. Bloomington: Indiana University Press. — NICHOLS, Bill (2001). Introduction to documentary.Bloomington: Indiana University Press, 2001