Film analysis (Bachelor’s Degree in Filmmaking)

Film analysis

1. Dialectics of staging: balance-imbalance; chance-control; signifying gesture-ambiguous gesture.
2. Dialectics of off-stage: explicit-suggested (concrete-imaginary).
3. Dialectics of framing: empty-decorated; macro-micro (epic-intimate).
4. Dialectics of light: chromatic-monochromatic; light-shadow.
5. Dialectics of montage: transparency-evidence; accelerated-delayed (movement-stasis).
6. Dialectics of film narrative: continuity-discontinuity; presence-absence; speed-slowness (convergence-divergence).
7. Dialectics of the soundtrack: dialectics of sound; dialectics of music.

Theories of cinema

Cinema and thought. Presentation of the main film theories, not as a set of immutable norms and rules that demarcate watertight compartments within a general thing called cinema, but as platforms from which to interpret specific films and which are affected and relativised by them. For this purpose, we will not only limit ourselves to illustrating the theories with canonical sequences, but we will also try to find, as far as possible, marginal examples that promote them but also question them. Among the theories to be worked on in the course are Russian formalism, psychoanalysis, structuralism, ontological and essential realism and the politics of the authors.

Training activities:

1. Face-to-face theory classes
2. Tutored work
3. Autonomous work

Teaching methodologies:

1. Lectures: presentation of the contents of the subject by the teaching staff.
2. Active research of information in written or filmic texts by the student for the acquisition of knowledge directly, but also for the acquisition of skills and attitudes related to obtaining information.
3. Students carry out written and/or audiovisual research work.

Research work

Film analysis

Andrew, Dudley J; Las principales teorías cinematográficas, Gustavo Gili, 1978. 

Aumont, Jacques; Michel, Marie; Análisis del film, Ediciones Cátedra, 1990. 

Aumont, Jacques; Estética del lenguaje: Espacio fílmico, montaje, narración, lenguaje, Ediciones Cátedra, 1985.  

Bordwell, David; El arte cinematográfico, Ediciones Paidós, 1995. 

Bordwell, David; La narración en el cine de ficción, Ediciones Paidós, 1996. 

Burch, Noël; Praxis del cine, Editorial Fundamentos, 2003. 

Carmona, Ramón; Cómo se comenta un texto fílmico, Ediciones Cátedra, 1993. 

Deleuze, Gilles; La imagen-movimiento, Ediciones Paidós, 1983. 

Deleuze, Gilles; La imagen-tiempo, Ediciones Paidós, 1987. 

Martin, Adrian; Mise en Scène and Film Style, Macmillan, 2014. 

Zunzunegui, Santos; Paisajes de la forma, Editorial Cátedra, 1994. 

Zunzunegui, Santos; La mirada cercana – microanálisis fílmico, Ed. Paidós Papeles de comunicación 15, 1996. 

Theories of cinema

Andrew, Dudley, Las principales teorías cinematográficas, Madrid, Rialp, 1992. 

Casetti, Francesco, Teorías del cine, Madrid, Cátedra, 2010. 

Elsaesser, Thomas, Hagener, Malte, Introducción a la teoría del cine, Universidad Autónoma de Madrid, 2015. 

Stam, Robert, Teorías del cine: una introducción, Barcelona, Paidós, 2001. 

Stam, Robert, Miller, Toby, A companion to film theory, Blackwell, 2004. 

Stam, Robert, Burgoyne, Robert, Flitterman Lewis, Sandy, Nuevos conceptos de la teoría del cine, Barcelona, Paidós, 1999. 

V.V.A.A., Estética del cine, Buenos Aires, Paidós, 2008.