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
- Nuno André Mourisco Ferreira da Silva (1)(2)
(1) Docente Responsável
(2) Docente que lecciona
Prerequisites
Not applicable.
Objectives
a) Develop a semi-historical path through Experimental Cinema focusing on the 20th century and its avant-garde;
b) Understand the influence of artistic movements on the genesis of new forms of visual language. Explore the techniques, motives, developments and contributes;
c) Understand the contemporary nature of the works and the author's relationship with historical, social and political dynamics;
d) Encourage the development and production of experimental and authorial short films, emulating formal aspects of the aforementioned avant-gardes.
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. Questions of representation: film and gender;
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
Continuous assessment:
Attendance and participation - 20%
Exercise 1 - Abstractionism - 10%
Exercise 2 - Surrealism - 10%
Exercise 3 - Counter-Culture - 10%
Exercise 4 - Structural Cinema - 10%
Exercise 5 - Situationism Letrism - 10%
Final project - 30%
Exam:
Exercise 1, 2, 3, 4 and 5 - 50%
Final exercise - 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 - Production of filmic exercises.
Software used in class
Adobe Premiere Pro;
DaVinci Resolve.
