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

Photography and Cinema

Objectives

1) Understanding the ontologies of photography and cinema and their mutations over the 20th and 20th centuries;
2) Understanding and reflect on a set of concepts to approach these ontologies, based on classic and contemporary texts;
3) Identifying the consequences arising from the use of digital in photography and cinema, namely accessing files, found footage, or other documentation;
4) Understanding the effect of using photography in cinema and cinematism in photography in different genres;
5) Reflecting on the massive presence of photography and cinema in contemporary art since the late 1980s, based on this conceptual approach.

General characterization

Code

722011133

Credits

10.0

Responsible teacher

Luís Guilherme Jordão de Mendonça

Hours

Weekly - 3

Total - 280

Teaching language

English

Prerequisites

None

Bibliography

1. Henning, Michelle. <The Floating Face of Greta Garbo>. 2017. Photographies, 10:2, 157-178, DOI:
10.1080/17540763.2016.1266691
2. Jacobs, Steve &amp; Lisa Colpaert. 2014. The Dark Galleries. A Museum Portraits in film Noir, Gothic
melodramas, and Ghost Stories of the 1940s and 1950s. Gent: AraMER.
3. Campany, David. 2008. Photography and Cinema. Londres: reacktion Books.
4. Gunning, Tom. <What’s the Point of an Index? or, Faking Photographs.> In Still Moving: Between
Cinema and Photography. Eds. Karen Beckman and Jean Ma, 23–41. Durham, NC: Duke University
Press, 2008.
5. Barthes, Roland. A Câmara Clara. Lisboa: Edições 70, (1980) 2008

Teaching method

Interactive methodology: exposition, discussion, debate upon texts and visual works.

Evaluation method

Método de avaliação - oral assessment and written essay; oral participation(100%)

Subject matter

The seminar revolves around the development of some key concepts and themes, which cross both media, photography and cinema. Through them, we intend to problematize their mutations over 
almost two centuries, as well as to analyze some of the contemporary issues that call both media in the field of contemporary art, cinema and photography. On the other hand, the aim of the seminar
is to understand the way the two media mix, especially in a post-digital context. Some of the structuring topics of the seminar to be studied this year will be selected from the following:
1. Animism
2. Absence
3. Indexicality
4. Document
5. Phantasmagoria
6. Transparency
7. Pause
8. Photogeny
9. Portrait