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History of cinema I (Bachelor’s Degree in Filmmaking)

Learning outcomes Thematic blocks Methodology and training activities Accredited assessment of learning Sources of basic information Back to the Bachelor
Program details
Subject: History of cinema I
Code: 366990
Credits: 6
On-site activities: 50 hours
Directed work: 50 hours
Self-employed work: 50 hours

Learning outcomes

Recognise concepts related to the historical and socio-cultural context in which cinema and audiovisuals have developed in their different stages.

Generate research work based on the consultation of bibliographical sources and the viewing of audiovisual material.

Put into context the unequal position of men and women in the professional sphere, in order to seek solutions that allow for progress in equality, both in the most creative and in the most technical areas.

Autonomously apply research methodologies and skills for the creation of filmic texts in higher level studies.

Thematic blocks

  1. The Primitive Representation Model. The birth of cinema. The film genres of the origins.
  2. The institutionalisation of film language.
  3. The avant-garde: when cinema moves away from the theatre and the novel.
  4. German expressionism. The perfection of the mise-en-scène: revolutions in light, space and camera movement.
  5. The consolidation of the Institutional Representational Model outside the USA and the Nordic school.
  6. The Soviet school. The potential of film montage beyond the causal narrative of classicism.
  7. The birth of a mythology from the establishment of an industrial production model.
  8. The apotheosis of burlesque cinema. Body and movement, alternatives and parodies to the classical Hollywood narrative.
  9. Mutations of the Classical Model of Representation from the European migrations in Hollywood.
  10. The splendour of the classical model: Hollywood in the 1920s.
  11. The splendour of the classical model: Hollywood 1930s.
  12. Evolutions of French poetic realism and the theatricality of Jean Renoir.
  13. Symptoms of the exhaustion of the classical story.
  14. Cinematic mannerism.

Methodology and training activities

Training activities:

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

Accredited assessment of learning

Research work

Sources of basic information

BURCH, N. El tragaluz del infinito. 

EISENSTEIN, S. “Dickens, Griffith y el cine en la actualidad” a La forma del cine. 

DREYER, C.T. Reflexiones sobre mi oficio. 

EISNER, L. La pantalla demoníaca.  

KRACAUER, S. De Caligari a Hitler. 

BERRIATÚA, L. Los proverbios chinos de F. W. Murnau. 

EISNER, L. Fritz Lang. 

EISENSTEIN, S. El sentido del cine. 

VERTOV, D. El cine-ojo. 

BUÑUEL, L. Mi último sospiro. 

EPSTEIN, J. La esencia del cine. 

DE LUCAS, G. Vida secreta de las sombras. 

BOU, N. I PÉREZ, X. El temps de l’heroi. Èpica i masculinitat en el cinema de Hollywood.  

BORDWELL, D. El cine clásico de Hollywood. Estilo cinematográfico y modo de producción hasta 1960 

WERNBERG, G. El toque Lubitsch. 

TRUFFAUT, F. El cine según Hitchcock. 

PETRIE, G. Hollywood destinies: European directors in America (1922-1931)  

KOSZARSKI, R. Erich Von Stroheim y Hollywood  

VIDOR, K. Un árbol es un árbol 

BAZIN, A. Jean Renoir  

BAZIN, A. Orson Welles 

LOSILLA, C. La invención de Hollywood. 

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