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  3. Master in Communication Sciences
  4. Area of specialisation in Cinema and Television
  5. Film Direction

Film Direction

Objectives

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, style and tools of film directing;
d) Placing under critical perspective the nature of the relationship between reality and its cinematographic representation;
e) Understanding, in an active perspective, the scope and social signficiation of film experience.

General characterization

Code

722011077

Credits

10.0

Responsible teacher

Pedro Miguel Ferreira Florêncio

Hours

Weekly - 3

Total - 280

Teaching language

Portuguese

Prerequisites

N/A

Bibliography

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

Teaching method

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.

Evaluation method

Evaluation method - Written assignment: 70% Class presentation: 30%(100%)

Subject matter

I.The utopia film language: its main characteristics Key features and operators. The language of cinema as an audiovisual communication system. Plan and punctuation. Continuity filmic and cinematic syntax. Ubiquity and function of assembly


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. The phases of the work of the film: preparation, filming, editing, post-production. The team work. Projecting into realization. Models and planning systems. The determination of the map work. Exam of practical cases.