Photography and Cinema - 2nd semester
1. To identify the historical relationships between photography and cinema;
2. To question the ontologies of photography and cinema;
3. To understand the relations of tension and contiguity between photography and cinema in contemporary culture;
4. To understand contemporary relations between the still image and the moving image, in contrast with earlier times;
5. To question the relationship between photography and cinema in representing the world and history;
6. To grasp a fundamental set of concepts on the relationship between photography and cinema and their respective ontologies, by reading and discussing texts.
Weekly - 3 letivas + 1 tutorial
Total - Available soon
BARTHES, Roland, A câmara clara, Lisboa, Edições 70, 2008;
BARTHES, Roland, O Óbvio e o Obtuso, Lisboa, Edições 70, 1984;
BELLOUR, Raymond, Between-the-Images, Zurique e Dijon, JRP|Ringier & Les Presses du Réel, 2012;
CAMPANY, David, Photography and Cinema, Londres, Reaktion Books, 2008;
DE BAECQUE, Antoine, Camera Historica, Nova Iorque, Columbia University Press, 2012;
KRACAUER, Siegfried, The Pasts Threshold Essays on Photography, Zurique, Diaphanes, 2014;
MAH, Sérgio, A fotografia e o privilégio de um olhar moderno, Lisboa, Colibri, 2003;
Medeiros, Margarida, Fotografia e Verdade: uma história de fantasmas, Lisboa, Assírio & Alvim, 2010;
SCHEFER, Jean Louis, The Ordinary Man of Cinema, Nova Iorque, Semiotext(e), 2016.
Classes are based on constant dialogue between photography and cinema, highlighting the main currents of thought - a historiography of ideas - throughout the 19th, 20th and 21st centuries. Photographs and film excerpts will illustrate the vast theoretical corpus.
The presentation of scripts, interspersed with debates on core texts, will always aim at providing students with analytical tools to be used in the final writing exercise, which should focus on a photograph or still. This writing based on images will be the main focus of assessment, alongside students participation in class.
This course unit pays special attention to cinema as a medium for reflecting on the major themes of photography, bringing together a constellation of case studies in which the ontology of the photographic image is brought to the table within the cinematic realm. Themes such as death, reality, portraits, archives, time and history are explored through the possibility of an eminently photographic thinking.
1. Writing about cinema and photography: the essay form according to Adorno.
2. Photography and cinema: a brief history.
3. The photographic and the Nouvelle Vague.
4. Configurations of time and space.
5. Photography and death.
6. Recollection, archives and portraits.
7. Camera historica.