The Audiovisual Essay course is aimed at all those who wish to understand the critical exercise of images from a practical approach. In today’s world, it is increasingly common for research and criticism of images to be carried out by working with images. Thus, it is increasingly essential for the researcher’s task to be able to work comfortably from a visual facet in an increasingly hybrid discipline, which is theoretical as well as technical and creative.
The course is divided into two phases: the first, oriented towards the history and methodologies of the audiovisual and filmic essay as disciplines, with an overview of its main authors and typologies, as well as a broad exploration of the more experimental dimensions of the poetic work of montage; and the second, in workshop format, which will focus on the production of a practical project in audiovisual format. Students can carry out the project in relation to their main object of research within the framework of the Master’s degree, or they can carry out a completely original project for the subject.
Finally, the students will show the final projects in a public screening in the Zumzeig Hall. The organisation of the whole event, the programme, the communication, the design, discourse and intentions of the event will be managed entirely by the students in different working groups, which will be organised and coordinated by the subject.
Within the framework of the subject, visits to external entities such as museums, archives or cultural centres may take place outside school hours.
Development of an Audiovisual Essay:
1st phase: a selection of five still images accompanying an oral presentation of the idea.
2nd phase: an audiovisual/film essay of 5-10 minutes, completely free. It may or may not be aligned with the possible theme or axis of the TFM. Two cut versions will be delivered and a presentation will be made.
Final screening in a Public Space (Zumzeig).
The students will organise the event, its call, dissemination, structure and design autonomously. Presentation of the final cut.
The course will be assessed continuously throughout the semester. It will be assessed on the basis of the different stages of delivery of the essay project. In addition, active participation in class and involvement in the screening event that closes the course will also be positively assessed. Attendance at the workshop is compulsory. An unexcused absence of more than 20% of the sessions will result in an automatic failure.
Students who have to attend the re-evaluation will have to hand in the completed rehearsal project. They will also have to produce a written report of at least 5000 words defining the process of carrying out the project in three chapters: research, execution and analysis of the result.
Found Footage Magazine
Historia(s) del Cine, Jean-Luc Godard. Caja Negra, 2007.
Los condenados de la Pantalla, Hito Steyerl. Caja Negra, 2014.
El cine de la devoción, Nathaniel Dorsky. Lumiére. 2013.
Archiveology, Catherine Russell. Duke Univertity Press, 2018.
Desconfiar de las imágenes, Harun Farocki. Caja Negra, 2013.
Imágenes pese a todo, Georges Didi-Huberman. Paidos, 2004.
Ante el Tiempo, Georges Didi-Huberman. Adriana Hidalgo Editora, 2014.
Lo que vemos, lo que nos mira, Georges Didi-Huberman. Manantial, 1997.
El Asedio de las Imágenes, Stan Brakhage. Ediciones Bastante, 2019.
Sans Soleil, Chris Marker. Mula Plateada, 2020.
La Arqueología del Saber, Michel Foucault. Siglo XXI, 2010.
Counter-archive. Film, the everyday and Albert Kahn’s “Archives de la Planète”. Paula Amad, Columbia University Press. 2010.
Beyond the Black Box: The lettrist cinema of disjunction. Andrew V. Uroskie, MIT Press, 2011.
Gordon Matta Clark: en algún lugar fuera de la ley. Éric Aillez. Cuadernos de Música, Artes Visuales y Artes Escénicas 12.
Miradas oblicuas a partir del archivo Warburg. Variaciones e intermitencias del gesto que permanece y retorna. Xavier Antich. En Poéticas del gesto en el cine europeo contemporáneo. Intermedio, 2013.