In this course the students will contact with the work of different directors /
visual artists in order to understand the practice of audiovisuals and its various
aspects from experimental cinema and documentary , expanded cinema to a
contemporary artistic practice linked to video installation in museums and
galleries. With this course, students are expected to strengthen their personal
projects through a broad reflection and discussion on the origins of
experimental cinema and its relations with social and political issues. The
course will pay special attention to specific contemporary cinema strategies,
dealing with the creative treatment of the document, self-reflexivity,
autobiography, found-footage, and other approaches which contribute to the
construction of new languages.
Catarina Caldas de Figueiredo Mendes Mourão
Weekly - Available soon
Total - 280
BELLOUR, R., La Querelle des Dispositifs, Paris, P.O.L., 2012.
BERGER, John, 2001 “Selected Essays” Bloomsbury Publishing
BRESSON, R. (1975) Notas sobre o cinematógrafo, Porto, Sudoeste, 2003.
CORRIGAN, Timothy 2011 “The Essay Film, From Montaigne, After Marker”
Oxford University Press
FRAMPTON Hollis. 2009 On the camera arts and Consecutive Matters ed
JENKINS Bruce, Cambridge: MIT Press
MACIEL, K. (org.). 2009. “Transcinemas”. Rio de Janeiro: Contra-capa.
REES, A.L. [et ai.] (eds), Expanded cinema: art, performance, film. Londres,
SHAW, J., WEIBEL, P. (ed), Future Cinema: the Cinematic Imaginary after
Film, Karlsruhe: ZKM; Londres:MIT Press, 2003.
RUSSELL, Catherine. 1999 “ Experimental Ethnography” Duke University Press
Experimental Cinema works in a seminar regime, also having a tutorial aspect. The
critical debate of the projects is promoted in joint sessions and each of the students'
practical work is monitored within its own specificity. The expository classes integrate
the analysis of works by artists / filmmakers, as well as the integrated debate of works
carried out by students within the field of audiovisual artistic creation. A practical
exercise will be launched in the context of the works seen and discussed and whose
premise is to question the language of cinema and the way it implies a vision and
position on the world. Whenever necessary, study visits are made and visual artists
and / or filmmakers will be invited.
Evaluation Methodologies - The assessment focuses on oral participation(40%), the development of practical exercises(60%)
This curricular unit articulates theory and practice and seeks, through practical
exercises, to reflect on new contemporary cinematic practices and the films
presented in class. The films viewed in class will trigger the students 'practical
experiences, other times it will be the students' experiences, and the field of
experimentation that may interest them which will lead us to revisit works of
artists relevant to the discussion.
Specific themes which will be discussed:
- origins of experimental cinema
- the question of time: acceleration and deceleration, conveying a new way of
experiencing cinema from the spectator's point of view
- the question of perception
- the autobiographical question
- the appropriation/manipulation of the archive
- elemental cinema/ animistic cinema
Programs where the course is taught: