ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Student's work ECTS: 99 Hours of tutorials: 3 Expository Class: 24 Interactive Classroom: 24 Total: 150
Use languages Spanish, Galician
Type: Ordinary Degree Subject RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art
Center Faculty of Geography and History
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable
· Identify the main features of different periods and movements in film history.
· Explain the film language, mise-en-scène and editing strategies used in different periods.
· Interpret the implicit and symptomatic meanings of the films discussed in classes.
· Develop critical discourses on a series of milestones in film history.
1. SILENT FILM (1895-1931)
- The Birth of Hollywood
- Avant-garde Cinema
2. CLASSICAL CINEMA (1931-1959)
- The Studio System and Classical Genres in North America
- European and Japanese Industries in the Mid-20th Century
3. MODERN CINEMA (1959 - 1981)
- The End of the Classical Paradigm: Neorealisms and Mannerisms
- New Waves in Europe and Latin America
- New Hollywood and American Independent Cinema
4. POSMODERN CINEMA (1981-2005)
- Generic Hybridization
- Late Modernity
- Return to Reality
5. CONTEMPORARY AUDIOVISUAL (2005-2025)
- The Emergence of Asian Cinemas
- Transmodernity and Digital Cinema
· Fieldwork: visit to the Museu de Cinema Jean-Loup Passek in Melgaço (Portugal). Possible date: November 21, 2024
ESSENTIAL READINGS (just one of them)
· Bresson, R. (1975) 1993. Notas sobre o cinematógrafo. Edicións Positivas.
· Herzog, W. (2007) 2018. La conquista de lo inútil. Blackie Books.
· Ozu, Y. 2017. La Poética de lo cotidiano: escritos sobre cine. Gallo nero.
· Schrader, P. (1972) 1999. El Estilo trascendental en el cine: Ozu, Bresson, Dreyer. Ediciones JC.
· Tarkovski, A. (1985) 1991. Esculpir en el tiempo: reflexiones sobre el arte, la éstetica y la poética del cine. Ediciones Rialp
· Truffaut, F. (1966). El cine según Hitchcock. Alianza Editorial.
HANDBOOKS
· Araújo, N. (coord.). 2021. História do cinema. Dos primordios ao cinema contemporáneo. Edições 70.
· Aumont, J. & Marie, M. (1988). 1990. Análisis del Film. Paidós.
· Cousins, M. (2004). 2005. Historia del cine. Blume.
· Cousins, M. 2011. The Story of Film: An Odyssey. 5 DVD.
· Labarrère, A. Z. & O. (2002). 2009. Akal - Atlas del Cine. Akal.
· Sánchez Noriega, J. L. 2018. Historia del cine. Teoría, estéticas, géneros. Alianza.
· Rodríguez Vela, A. 2019. Breve historia del cine. Nowtilus.
· VV. AA. 1995-1998. Historia general del cine. 12 volumes. Cátedra.
SELECTED BIBLIOGRAPHY
· Balló, J. 2000. Imágenes del silencio. Los motivos visuales en el cine. Anagrama.
· Bordwell, D.; Staiger, J. & Thompson, K. (1985). 1997. El cine clásico de Hollywood: estilo cinematográfico y modo de producción hasta 1960. Paidós.
· Bordwell, D. & Thompson, K. (1994). 1995. El arte cinematográfico. Una introducción. Paidós.
· Chion, M. 1993. La audiovisión: introducción a un análisis conjunto de la imagen y el sonido. Paidós.
· Cousins, M. 2018. Women Make Film: A New Road Movie Through Cinema. 5 DVD.
· Cueto, R. & Weinrichter, A. 2004. Dentro y fuera de Hollywood. La tradición independiente en el cine americano. Intitut Valencià de Cinematografia Ricardo Muñoz Suay.
· Font, D. 2002. Paisajes de la Modernidad. Cine europeo 1960-1980. Paidós.
· Lagny, M. (1992). 1997. Cine e Historia. Problemas y métodos en la investigación cinematográfica. Bosch Casa Editorial.
· Nichols, B. (2001). 2013. Introducción al documental. UNAM.
· Pena, J. 2020. El cine después de Auschwitz. Representaciones de la ausencia en el cine moderno y contemporáneo. Cátedra.
· Knowing the main tendencies, films and filmmakers in film history in order to identify the formal and discursive strategies associated with different genres, styles and historical contexts.
· Understanding, analysing and interpreting the meaning of a film from a semiotic and discursive perspective.
· Learning film analysis techniques in order to understand and evaluate films and audiovisual works.
· Constructing arguments from a critical and analytical perspective through oral and written language.
· Understanding the relation between cinema and other contemporary arts in order to go on studying other subjects related to film history and film studies.
· Master classes to explain content from film fragments.
· Workshop of film analysis in which students will discuss films related to the program.
There will be three main assignments:
1. Analysis of a feature film based on the ideas developed by the filmmaker in some of the essential readings. Length: 3000 - 4000 words. Percentage in the final evaluation: 30%
2. Comparative analyses of two films associated with the program. One of these films must have been shown in the interactive sessions. This assignment must be done in pairs. Length: 3,000 – 4,000 words (text) or 5-8 minutes (video essays). Percentage in the final mark: 30%.
3. Final exam: film analysis of an audiovisual text. The previous assignments must be done before taking the final exam. Percentage in the final evaluation: 40%.
Second chance: an individual film analysis (50%) and an exam similar to that of the first chance (50%).
Exemption: students who are granted an attendance exemption (following the Class Attendance Regulations in official undergraduate and master's degree courses of the University of Santiago de Compostela, approved by agreement of the Governing Council on 25/11/2024), will be evaluated based on an individual comparative analysis paper (50%) and the completion of an exam similar to the first opportunity (50%).
For those cases of fraudulent completion of exercises or tests, as defined in article 42 of the Regulations establishing the coexistence rules of the University of Santiago de Compostela and in accordance with the provisions of article 11. g) of the Law on University Coexistence, sanctions will be applied in accordance with the aforementioned regulations.
In-person classes: 51 hours.
Student’s work on their own: 99 hours.
This subject continues the first-year subject 'Introduction to Film Language'. Taking into account its particular features, and since students are usually unfamiliar with film history and film analysis, it is highly recommended to attend the classes in order to understand the dynamics of the assignments.
Moreover, the Regulations on class attendance in official undergraduate and master's degree courses at the Universidade de Santiago de Compostela (https://hdl.handle.net/10347/38041) establish in its article 1 that "class attendance is configured as a right/duty of the student, with the teaching schedule of each subject determining and specifying its assessment and establishing the mandatory training activities". In this sense, class attendance will have an impact on the assessment system to the extent that it is mandatory to participate in the the interactive sessions in order to watch and comment those films on which students must do their assignments.
This academic year is the last one with teaching activities for this subject. Those who do not pass the course have two more academic yeras (2026-2027 and 2027-2028) to pass it in accordance to the corresponding assessment system, but these courses will do not have teaching activities.
Xose Ivan Villarmea Alvarez
Coordinador/a- Department
- History of Art
- Area
- History of Art
- ivan.villarmea [at] usc.es
- Category
- Professor: LOU (Organic Law for Universities) PhD Assistant Professor
| Tuesday | |||
|---|---|---|---|
| 15:00-17:00 | Grupo /CLE_01 | Galician | Classroom 12 |
| Thursday | |||
| 15:00-17:00 | Grupo /CLE_01 | Galician | Classroom 12 |