Publication in the Diário da República: Despacho n.º 13021/2015
5 ECTS; 3º Ano, 1º Semestre, 30,0 T + 30,0 TP + 3,0 OT , Cód. 9932057.
Lecturer
- Marco Filipe de Almeida Santos Oliveira (2)
(1) Docente Responsável
(2) Docente que lecciona
Prerequisites
Not applicable.
Objectives
a) Develop a semi-historical path by Experimental Cinema,
b) Understand the techniques, motives, developments and contributes
c) Understand the relationship between artistic movements and authors
d) Encourage the development and experimental authorial
Program
1.The complex 20´s. The "crisscross" connection between artistic movements, tendencies and artists. Futurism, Dada, surrealism and the coexistence of different art forms: dance, painting, poetry, music, sculpture, fashion and literature. Deep analysis of the French and German Avant-Gardes. The soviet experiments. Abstract film, Cinéma Pur and Absolut film. Film as an art form, non-narrative.
2.A new vision in documenting the facts. The relationship between film and modern musical composers. Simbolism and abstraction.
3.The influence of psychoanalysis. The inexplicable logical of dreams. the roots of surrealism last until present days.
4.The invention of sound film massifies its existence and pushes experimentalists in the way of a new documentary approach. The British GPO.
5.The lead role of USA in this Avant-Garde. The democratization of equipment - the 16mm camera. Abstract montages and deconstructed narratives. Author documentary, direct cinema.
6.After WW2 emerges marginal themes film, agressive performance, confrontation. Beat poetry and its influences.
7.After Underground populism, it was time to search for new visual and cognitive ideas, related to a structure and a process. Experimental film enters a new philosophical territory. Combines premeditation and chance when shooting. Perception sensorial intents with the audiences. British structural-materialism.
8.Fluxus film mainly focused on visuals and abandoned structure in favor of simplicity and anti-art. Fluxus often referenced film by humorously and playfully. Fluxus diminished the importance of the social elite and institutions, and silenced the notion of art as a skill, profession, and a commodity..
9.Post modernism turned into a difused pluralism. The last unified experimental film movement.
10.Art cinema - Derek Jarman and Peter Greenaway. Elctronic Arts and Video-art. Young British Artists.
Evaluation Methodology
Attendance -10%
Assignment 01 -Avant-Gardes(Oct)10%
Assign. 02 -Disruptive narrative(Nov)20%
Assign. 03 -Art and performance(Dec)20%
Assign. 04 -Experimental documentary 40%
Exam/Supplementary and Special evaluation:
Exam 50% + Assignments 50%
Bibliography
- Adams Sitney, P. (2002). Visionary Film: The American Avant-Garde, 1943-2000. Oxford: Oxford University Press
- Audrey Foster, G. e Winston-Dixon, W. (2002). Experimental Cinema, The Film Reader. London: Routledge
- O'Pray, M. (2003). Avant-Garde Film: Forms, Themes and Passions. New York: Columbia University press - Wallflower Press
- Rees, A. (2011). A History of Experimental Film and Video. Londres: British Film Institute
Teaching Method
A - Lectures
B - Film screenings with debate.
c - Film exercises
Software used in class
Not applicable.
