The purpose of this course is to identify, analyse, present, discuss and develop research practices in the field of film and audiovisuals.
A practice is defined here fundamentally as a set of systematised actions, i.e. connected to each other in a complex and dynamic system to fulfil a specific function. For a practice to be a research practice, it must specify an epistemic/cognitive function in relation to a research topic or focus.
Furthermore, practices can be systemically connected to each other by configuring methods. In this sense, this course is a methodological course, i.e. it pursues a reflection on methods through an enquiry into the practices that shape them.
A first aim of this course is to clearly delineate research practices on and through film/audiovisual, i.e. to determine the actions and their systemic relations, the specific epistemic/cognitive functions, technologies and resulting artefact forms that constitute research practices on and through film/audiovisual.
The second aim of the course is to develop new research practices on and through film/audiovisual making and the third is to enable students to incorporate the practices described as well as the new practices to be developed into their research processes. An immediate possibility to be considered is the application of some of these practices in the process of TFMs.
The research practices to be discussed come from multiple sources: among others, the work of filmmakers, visual artists, film theorists and philosophers.
The research practices that will be thematised in this course refer, first of all, to two types of research foci. On the one hand, films and audiovisual artefacts, as well as their production process, can serve as a research focus. In this case, the practices at stake will be considered as film/audiovisual research practices. On the other hand, the research focus will be different from film, audiovisual artefacts and their production processes. In this case, the thematic practices will be understood as research practice through film/audiovisual. Film/audiovisual production will be considered in this case as the medium in which the practices take place.
Secondly, a further differentiation between practices refers to the predominant type of action that shapes a practice. In a non-categorical way, a distinction is made here between conceptual and perceptual practices. Conceptual research practices are predominantly based on language-based logical operations; perceptual research practices are primarily realised through aesthetic/aesthetic operations.
These two distinctions overlap in a matrix that can be applied to all research practices:
Perceptual
About cinema ——— + ———Through cinema
Conceptual
The contents are structured in 4-hour sessions.
Each student will be required to actively participate in each session.
Each student is also required to formally present his/her research internship in a two-hour session structured and guided by him/her.
In addition, each student is required to submit a comprehensive written description of one of his/her internships.
On this basis, the grading structure for each student will consist of an assessment of his/her participation in the course (20%), an assessment of his/her presentation (50%) and an assessment of his/her written description of his/her practice (30%).
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