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The subject's exercises can be done in both Spanish and Catalan (or in English, Erasmus students).
E14_Acquire knowledge of the history, aesthetics, evolution and dynamics of cinema, television, radio, press, Internet and video games, how to recognize aesthetics through viewing and analysis
T2_That students have the ability to work as members of an interdisciplinary team either as one more member, or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments taking into account the available resources
The subject of Film Analysis is within the subject "History" and consists of thinking and applying textual analysis to audiovisual works (films, short films, series, etc.). The subject assumes acquired knowledge related to previous subjects in the subjects History, Communication, Artistic Expression, Image and Business, with which it is related: History of audiovisuals and video games, Language and audiovisual expression, Lighting, Graphic design, Screenplay audiovisual and audiovisual Production.
The fundamental objective of the subject is to foster the critical capacity and analytical spirit of the students, so that they are able to recognize the various audiovisual and cultural codes present in both classical and contemporary works, and appreciate their functioning. Later, they will be able to apply their learning to their creations and other studies.
Contents
Introduction: Analysis processes
Related activities:
Practical Activities:
Activity 1: Segmentation
Activity 5: Analysis of a film
Theory activities:
Examen
Contextual analysis
Related activities:
Practical Activities:
Activity 3: File and context
Activity 5: Analysis of a film
Theory activities:
Examen
Analysis of the narrative
Related activities:
Practical Activities:
Activity 2: Analysis of the narration
Activity 5: Analysis of a film
Theory activities:
Examen
Analysis of cinematographic language
Related activities:
Practical Activities:
Activity 4: Language analysis
Activity 5: Analysis of a film
Theory activities:
Examen
Analysis of communication: the narrator
Practical Activities:
Activity 5: Analysis of a film
Theory activities:
Examen
Analysis of time and space
Related activities:
Practical Activities:
Activity 5: Analysis of a film
Theory activities:
Examen
Recomposition and conclusions
Related activities:
Practical Activities:
Activity 5: Analysis of a film
Theory activities:
Examen
Additional resources:
During the course other resources may be provided to deepen topics and contents.
At the beginning of the course, the films that make up the compulsory filmography of the subject will be indicated.
The evaluation of the subject is divided into Practical Activities i Theory activities.
Continuous assessment involves carrying out the activities detailed in this teaching guide during the course.
The continuous evaluation of the Practical Activities (50% of the final mark of the subject) is carried out through the following activities:
It is mandatory to pass the practicals in order to enjoy the continuous assessment and to pass the subject.
El Theoretical Content (50% of the final mark of the subject) is evaluated through the following activities:
It is mandatory to pass the Exam to enjoy the continuous assessment and pass the subject.
On recovery the Practical Activities and theExamen. The Practical Activities and the Exam can be recovered separately and according to the instructions of the teaching team at the beginning of the course.
The students repeaters / res of the subject can take refuge in the following system of evaluation:
Practical Activities:
Theoretical Content:
This option implies the following conditions:
Attendance is recommended, but not mandatory. It has no weight in the evaluation.
It is necessary to pass both the average of the practical activities and the exam to pass the subject.
Identification of plagiarism is considered a serious circumstance that may lead to a failing grade in the subject. In case of detection of plagiarism, the coordination of the degree will be informed so that the corresponding disciplinary measures can be taken.
Casetti, Francesco, and di Chio, Federico (1991). How to analyze a film. paid
Gaudreault, André, and Jost, François (1995). The cinematographic story. Cinema and narratology. paid
Aumont, Jacques, and Marie, Michel (1990). Analysis of the film. paid
Stam, Robert (2001). Film theories. An introduction. paid
Urrutia, Jorge (Ed. ) (1976). Contributions to the semiological analysis of the film. Fernando Torres.
Cuevas, Efrén (1994). Notes on the "author theory" in audiovisual fiction. Communication & Society, 7(1). https://revistas.unav.edu/index.php/communication-and-society/article/view/35584/31211
Balló, Jordi, and Pérez, Xavier (1995). The Immortal Seed: Universal Arguments in Cinema. Empuriabrava
Neira Piñeiro, Mª del Rosario (2003). Introduction to filmic narrative discourse. Arco Books
Genette, Gérard (1989). palimpsests Literature in second grade. taurus
Zumalde, Imanol (2011). The film experience. Cinema, thought and emotion. chair
Zunzunegui, Santos (2007). About film analysis: the state of things. Communicate, 29(XV), 51-58. https://doi.org/10.3916/C29-2007-07
Bazin, André (2004). What is cinema? Rialp
Sánchez Noriega, José Luis (2006). History of cinema: cinematographic theory and genres, photography and television. alliance
VV. AA. (1995). General history of cinema. Chair.
Bordwell, David, and Thompson, Kristin (1995). Cinematographic art: an introduction. paid
Gubern, Roman (2000). History of cinema. Lumen.
Aumont, Jacques, Bergala, Alain, Marie, Michel and Vernet, Marc (2005). Cinema aesthetics. Film space, montage, narration, language. paid
Xavier, Ismail (2008). The cinematographic discourse: opacity and transparency. spring