Universitat Internacional de Catalunya
Documentary
Other languages of instruction: English
Teaching staff
By previous appointment: aalbacete@uic.es
10-15 minutes after the end of the on-site classes.
Introduction
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.
Pre-course requirements
No prerequisites required.
Objectives
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.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 07 - The ability to apply the deontology and respect for the audiovisual sector
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 10 - The ability to confront difficulties and resolve problems
- 11 - The ability to generate debate and reflection
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 13 - The ability to create spoken and written communication
- 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
- 16 - The ability to manage, analysis and reflect on content
- 19 - The ability of informative documentation
- 21 - Knowledge and mastery of the digital culture
- 22 - Knowledge and mastery of the distinction between opinion and information / colloquial and cultured register
- 23 - The ability to prioritize newsworthy events and contrast information
- 24 - The ability to plan and organize both short term and long term projects
- 25 - The ability to maximize creative development
- 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 33 - The ability to create and direct.
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
- 43 - the ability to create scripts for film, television and radio according to the demands of the genre
- 44 - The ability to adapt to new audiovisual formats
- 45 - The ability to know and dominate the techniques of audiovisual narrative.
- 46 - The ability to dominate resources used for image (Photographs, lighting...) and sound.
- 48 - Knowledge and mastery of the techniques of filming, directing, producing and editing
- 49 - The ability to write fluent texts, step outlines or scripts
- 51 - Knowledge and mastery of the functioning of Corporate and Institutional Communication.
- 53 - Lingustic ability in Catalan, Spanish and English
- 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.
Learning outcomes of the subject
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.
Syllabus
1 - Los pioneros
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Edison, Lumière, Meliès
2 - Los fundamentos del cine de No Ficción (20s - 40s)
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Dziga Vertov “El manifiesto del Cine Ojo”
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Jean Vigo “El Punto de vista documentado”
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Robert Flaherty “La puesta en escena documental”
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John Grierson “El documental expositivo”
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Leni Riefenstahl “El cine de propaganda”
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La experiencia de la guerra
3 - La búsqueda de la realidad
Nuevas técnicas, nuevas estéticas (50s 60s)
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H.C.Bresson, La Captura intuitiva (Images a la Sauvette - 1952)
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La teoría del Cine Directo
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La teoría del Cine Observacional
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Jean Rouch, del Cinéma Vérité a las Etnoficciones
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La clasificación de Peter Crawford
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El Neorrealismo italiano (Rossellini)
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La Nouvelle Vague, el Free cinema y el New American Cinema
4 - Neo-documentales y cine de no-ficción
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Found footage, Mockumentary y docudramas
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El ensayo fílmico
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El cine autorreferencial (diarios, cine epistolar, autobiográfico)
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El documental performativo
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El cine experimental
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El Documental no narrativo
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Otras esferas: La telerrealidad
5 - Revisión de conceptos
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Ficción, Documental, Reportaje, ¿Qué es un Documental?
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La objetividad en cuestión
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Redefiniendo la idea de Realidad. ¿Todo es ficción?
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Realismo y verosimilitud
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Cultura y Simulacro. La construcción de la Hiperrealidad
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Estereotipos vs. Arquetipos universales
6 - El cineasta como Autor
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Desarrollo de la identidad Creativa (Ética y estética en el cine documental)
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Ciencia, arte y filosofía (cuál es su papel en el cine de no ficción)
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Distintos paradigmas (Clásico, Moderno y Contemporáneo)
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Tendencias del documental Contemporáneo
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Distanciamiento critico
7 - Técnicas de la No Ficción
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Puesta en escena, situación, conversación, diálogo y discusión
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Evaluación de la idea para un documental
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El conflicto en el documental
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Control y Azar
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Narrativa de ficción vs Narrativa de no ficción
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Hibridaciones
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Confianza y límites
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El papel de la poética en el documental
8 - Seminario sobre los proyectos a realizar
Teaching and learning activities
In person
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 |
Evaluation systems and criteria
In person
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.
Bibliography and resources
BORDWELL, D. (1996): La narración en el cine de ficción. Barcelona, Paidós.
ROUCH, J. (1979) «La camera et les hommes» en FRANCE, C. de, Pour une anthropologie visuelle.
AUMONT, J. y otros (1995): Estética del cine. Espacio fílmico, montaje, narración, lenguaje. Barcelona, Paidós.
BALLÓ, J. y PÉREZ, J. (1997): La semilla inmortal. Los argumentos universales en el cine. Barcelona, Anagrama.
BAZIN, A. (1991): ¿Qué es el cine?. Madrid, Rialp.
BURH, N. (1987): El tragaluz del infinito. Contribución a la genealogía del lenguaje cinematográfico. Madrid, Cátedra.
CHION M. (1990): Cómo se escribe un guión. Madrid, Cátedra.
CHION M. (2004) La voz en el cine. Madrid: Cátedra.
EISENSTEIN, S. M. (1987): La forma del cine. Madrid, Cátedra.
GUBERN, R.: (1995): Historia del Cine. Barcelona, Lumen.
PUDOVKIN, V. (1957): Lecciones de cinematografía. Madrid, Rialp.
TARKOVSKI, A. (1991): Esculpir en el tiempo. Madrid, Rialp.
VERTOV, D. (1974): El cine ojo. Madrid, Fundamentos.