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Presentation
Presentation
In addition to the complexity of audiovisual materials and the urgency of digitization, the concepts related to significant technical characteristics and the impact that each of them has on digital audiovisual files can be dramatic. These challenges are accentuated by the emergence of advanced video formats such as Virtual Reality, Augmented Reality and 360° video.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 4
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULHT6353-23334
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
Television and Cinema (7 sessions) - Module 1: Television and convergence with cinema Basic concepts - Audiovisual archive structures Best practices in digital preservation Other issues - Audiovisual materials in the context of digital preservation. Standards and technologies applied in the Audiovisual Archive Case studies - Practice with archivists working with audiovisual materials¿ Broadcast Archive RTP - Practice in the Archive The Archive of Adapted Content Artificial Intelligence in audiovisual archiving Module 2 – Film and Television (6 sessions) Instructor: João Braz 1. Presentation of the course structure, schedule, and assessment criteria 2. Introduction to film editing tools and post-production processes 3. Development of a promotional trailer for a television project 4. Design and realization of a personal short film project based on archival material
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Objectives
Objectives
The main objective of this curricular unit is to provide students with specific knowledge of the moving images and technologies that are key to the development of cinema and television throughout the world and in particular in Portugal, which has followed the European EBU/UER standard. Students will learn the terminology, skills and concepts necessary to acquire the crucial skills to recognise the different cinematographic formats, television archive content genres, which are transversal to cinema and TV . Students are encouraged to use film editing as an essential tool for both work and creation, exploring the creative potential of cinema through archival materials. Through a theoretical and practical approach, the aim is to develop skills in selecting, organizing, and reconfiguring pre-existing images, while fostering critical reflection on memory, history, and the reuse of images.
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Teaching methodologies and assessment
Teaching methodologies and assessment
N/A
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References
References
Barata, Júlio C. (2017). A Re(E)volucão do Vídeo no Cinema e na TV. Lisboa. Edições Universitárias Lusófonas. Casey, M. 2015. 'Why Media Preservation Can't Wait: The Gathering Storm' IASA Journal 44, pp. 14?22. Acessível em: https://web.archive.org/web/20200906155506/https://mdpi.iu.edu/doc/storm.pdf last Acedido em 2023/08/09 Cocciolo, A. 2017. Moving Image and Sound Collections for Archivists. Chicago: Society of American Archivists. Cury, Ivan (2011) Directing and Producing for Television: A Format Approach. Oxford: Fourth Edition, Focal Press. Ernst, W. & Parikka, J. (2012) Digital Memory and the Archive. Minneapolis, MN: University of Minnesota Press. Hilmes, Michele (2003). The Television History Book. London. British Film Institute Gracy, K. 2007. Film Preservation: Competing Definitions of Value, Use, and Practice. Chicago: Society of American Archivists. Poynton, C. (2003). A Technical Introduction to Digital Video. New York: J. Wiley.
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Office Hours
Office Hours
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Mobility
Mobility
No
