Publication in the Diário da República: Despacho nº 6320/2018 - 28/06/2018
4 ECTS; 2º Ano, 1º Semestre, 60,0 TP + 3,0 OT , Cód. 817714.
Lecturer
- Gonçalo Cardoso Leite Velho (1)(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 dawn of modern art. Crossing movements and art forms. Impressionism, Cubism, Futurism, Dadaism. Challenges between different art forms: dance, painting, poetry, music, sculpture, fashion and literature.
2. The twenties avant-gardes. Pure cinema and absolute cinema. The art of collage. Cinema as an art form, non-narrative.
3. The development of art for art's sake. Technique as artistic expression. Abstractionism and virtuosity. The exit from the realistic obsession in the art of the image.
4.The influence of psychoanalysis. The inexplicable logic of the dream. The oneiric cinema. The surreal as an expression of the real.
5.The democratization of equipment. Editing as free association and deconstructed narratives. Film and gender issues.
6. Culture and art as representation. The masses, the centres, the elites and the peripheries. To represent the reality in which we live, to build reality through representation.
7. From the "underground" to the "main-stream". From "popular culture" to "pop-art". The "kitsch", the art of forms and the forms of art.
8. After the Underground populism, the return to structures and processes. Combination of premeditation and chance in filming. The perception/sensation of the audience. "Structural-materialism".
9. The return of "anti-art" and simplicity. Humor, criticism of elites and institutions. Beyond the notion of art as a gift or profession. Another "ready-made" and "pret-a-porter".
10. Return to the critique of language (neo-dadaism). Decoupling effects. The "detournement". The society of the spectacle. Critical cinema.
11. Intimacy and Extimacy. Everyday cinema as an experimental and documentary form. Personal experience and its universal.
12. Cinema Art - Derek Jarman and Peter Greenaway. Electronic art and video art. Young British Artists. From Expanded Cinema to Installation Cinema.
Evaluation Methodology
The evaluation methodology is uniform and applied in all evaluation periods. It is developed based on attendance, participation and a set of exercises, based on the contents lectured. The final classification is calculated by weighting the following assessment items:
Attendance and participation -10%
Exercise 1 -Visual Poetry- 10%
Exercise 2 -Abstractionism -10%
Exercise 3 -Surrealism - 10%
Exercise 4 - Psychodrama - 10%
Exercise 5 - Counter-Culture - 10%
Exercise 6 - Structural Cinema - 10%
Exercise 7 - Fluxus - 10%
Exercise 8 - Situationism Letrism - 10%
Final year - 10%
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.
