Program details

Subject: Film Studies I

Code: 356743

Course: First

Semester: Annual

Hours of dedication: 150 (Presential 50 / Tutored 50 / Autonomous 50)

Competences

Critical and self-critical capacity and the ability to show attitudes consistent with ethical and deontological conceptions.
That students have demonstrated possession and understanding of knowledge in an area of study that starts from the basis of general secondary education, and is usually at a level that, while relying on advanced textbooks, also includes some aspects that involve knowledge from the cutting edge of their field of study.
Students are able to apply their knowledge to their work or vocation in a professional manner and possess the competences usually demonstrated through the development and defence of arguments and problem solving within their field of study.
Students have the ability to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues.
Students are able to convey information, ideas, problems and solutions to both specialist and non-specialist audiences.
That students have developed the necessary learning skills to undertake further studies with a high degree of autonomy.
Assimilate the mechanisms of audiovisual language and be able to use them to explain stories.
Possess the skills and instruments to analyse and evaluate all types of filmic discourse.

Objectives

Understand concepts related to the historical and socio-cultural context in which classical, modern and contemporary cinema has developed.
Carry out research work based on the consultation and reading of bibliographical sources and the viewing of audiovisual material.
Produce audiovisual essays that synthesise themes and motifs pointed out in class.
Understand concepts related to audiovisual language and film analysis.
Develop a critical and creative perspective in relation to the analysis of images.

Thematic blocks

Classical cinema and its socio-cultural context.

The Primitive Model of Representation.
The institutionalisation of film language.
Advances in other cinematographies: Nordic spirituality.
Refinements in mise-en-scène: revolutions in light, space and camera movements.
The consolidation of the Institutional Representation Model outside the USA.
The potential of film montage beyond the causal narrative of classicism.
The avant-garde: when cinema moves away from theatre and the novel.
The birth of a mythology from an industrial production model.
The splendour of the classical story.
Mutations of the classical story.
Body and movement: alternatives and parodies of the classical Hollywood story.
Evolutions of French poetic realism and the theatricality of Jean Renoir.
Anticipation of the exhaustion of the classical story: Orson Welles.
The exhaustion of the classical story: mannerism.
Recapitulation: what is classical cinema?
Film analysis. The mise-en-scène. The out-of-field. Framing. The light. Editing. Film narrative. The soundtrack.

Film analysis.

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

Methodology and training activities

Master classes.
Lectures.
Group work.
Written work.
Research of information.

Accredited assessment of learning

Continuous assessment: written tests (35%); work carried out by the student (65%).

Re-evaluation: written tests (35%); work carried out by the student (65%).

Single assessment: written tests (35%). Work carried out by the student (65%). Students who wish to take advantage of the single assessment must apply in writing within five weeks of the start of classes.

Sources of basic information

Classic cinema

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.

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.