a) Understanding the creative possibilities and impossibilities of film;
b) Be able to organize a film project, through the concepts and tools of film practice;
c) Acquire competences of critical analysis on the concepts and tools of film directing;
d) Placing under critical perspective the nature of the relationship between reality and its cinematographic representation;
Weekly - 3 letivas + 1 tutorial
Total - Available soon
ARIJON, Daniel, Grammar of the film language, Los Angeles, Silman-James Press, 1982;
BRESSON, Robert, Notes sur le cinématographe, Paris: Gallimard, 1972;
KATZ, Steven, Film directing. Shot by Shot. Visualizing from concept to screen, Los Angeles: Michael Wiese, 1993;
GEUENS, Jean Pierre, Film Production Theory, Albany, SUNY Press, 2000;
GIBBS, John, Mise en scene. Film Style and Interpretation, Londres, Wallflower, 2003;
SCHRADER, Paul, Transcendental style in film, Ozu, Bresson, Dreyer, New York: Da Capo Press, 1972
Based on a theoretical and practical teaching method (50%-50%), the exposition of the subjects indicated above will use a system of crossings between theory and practice seeking an effective illustration of the conceptual contents of the program through filmic examples.
Written assignment: 70%
Class presentation: 30%
I. The utopia film language: its main characteristics
II. The elements of film used on directing: The discipline of the master-shot. Camera and movement. Angle multiplicity.
III. Film and style. The problematics of authorship. Style and transcendence.
IV. Practice of directing. The film production phases. How to project a film.
Exam of practical cases.