Universitat Internacional de Catalunya - BarcelonaDocumentary
Main language of instruction: Spanish
Other languages of instruction: English
Head instructor
Dr. Marta PIÑOL - mpinol@uic.es
Office hours
By previous appointment: aalbacete@uic.es
10-15 minutes after the end of the on-site classes.
The beginnings of cinema in the late nineteenth century, had as main objective to film the reality. Throughout the twentieth century, however, this task is preferably assumed by the documentary genre, which deals with giving a narrative and ordered treatment to the surrounding reality. Television journalists rechristened this genre and named it reportage. From its progressive implementation on the small screen, the documentary was relegated to an educational and informative genre where creativity shapes and remained in second place. In the last 30 years, however, the documentary expands into new ways of expression and new audiences, becoming an emerging genre that treats creatively the reality.
No prerequisites required.
The aim of this course is to bring closer to the students the documentary genre, from its beginnings to the present day. To analyze the evolution of the production over time and take a tour through the technology and format adaptations that have come to the XXI century. In parallel, we will undertake an audiovisual creation workshop where a documentary and a laboratory with an essay exercise will also be created by the students. The aim of this practice is to show students that the audiovisual language acquires new values and meanings. And also to understand that this way of communicating can be a very creative way of representing the world around us.
To study the evolution of the documentary from its beginnings to the present day.
To create building workshops where students can develop exercises, and thereby develop a personal look through documentary techniques.
To get knowlegde about documentary genre through the analysis of documentary films and various documentary filmmakers point of views.
To know the diversity and the different creative possibilities that contemporary documentaries propose us.
1 - Los pioneros
Edison, Lumière, Meliès
2 - Los fundamentos del cine de No Ficción (20s - 40s)
Dziga Vertov “El manifiesto del Cine Ojo”
Jean Vigo “El Punto de vista documentado”
Robert Flaherty “La puesta en escena documental”
John Grierson “El documental expositivo”
Leni Riefenstahl “El cine de propaganda”
La experiencia de la guerra
3 - La búsqueda de la realidad
Nuevas técnicas, nuevas estéticas (50s 60s)
H.C.Bresson, La Captura intuitiva (Images a la Sauvette - 1952)
La teoría del Cine Directo
La teoría del Cine Observacional
Jean Rouch, del Cinéma Vérité a las Etnoficciones
La clasificación de Peter Crawford
El Neorrealismo italiano (Rossellini)
La Nouvelle Vague, el Free cinema y el New American Cinema
4 - Neo-documentales y cine de no-ficción
Found footage, Mockumentary y docudramas
El ensayo fílmico
El cine autorreferencial (diarios, cine epistolar, autobiográfico)
El documental performativo
El cine experimental
El Documental no narrativo
Otras esferas: La telerrealidad
5 - Revisión de conceptos
Ficción, Documental, Reportaje, ¿Qué es un Documental?
La objetividad en cuestión
Redefiniendo la idea de Realidad. ¿Todo es ficción?
Realismo y verosimilitud
Cultura y Simulacro. La construcción de la Hiperrealidad
Estereotipos vs. Arquetipos universales
6 - El cineasta como Autor
Desarrollo de la identidad Creativa (Ética y estética en el cine documental)
Ciencia, arte y filosofía (cuál es su papel en el cine de no ficción)
Distintos paradigmas (Clásico, Moderno y Contemporáneo)
Tendencias del documental Contemporáneo
Distanciamiento critico
7 - Técnicas de la No Ficción
Puesta en escena, situación, conversación, diálogo y discusión
Evaluación de la idea para un documental
El conflicto en el documental
Control y Azar
Narrativa de ficción vs Narrativa de no ficción
Hibridaciones
Confianza y límites
El papel de la poética en el documental
8 - Seminario sobre los proyectos a realizar
17% Masterclass 17% Workshop 33% Coaching 33% Focus Praxis
| TRAINING ACTIVITY | ECTS CREDITS |
|---|---|
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 1 |
| Workshop. Advanced and intensive workshops of a longer duration, led by lecturers and/or foreign professionals, in which the language used is English. These culminate in the creation of a professional or semi-professional product which is also produced in English. | 1 |
| Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. | 2 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 2 |
50% Practical exercises
30% Individual marks: attitude, initiative, technical skills, creativity and teamwork.
20% Exam
* The teacher reserves his right to fail individually the film project if he or she does not obey a minimum of attendance, initiative and participation in class.
* It is mandatory 80% attendance at classes
* Students who attend the second call will have to complete 100% of the exercises and the written exam.
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