This version of the course guide is provisional until the period for editing the new course guides ends.

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Film Theory and Analysis

Code: 103047 ECTS Credits: 6
2024/2025
Degree Type Year
2501928 Audiovisual Communication OT 3
2501928 Audiovisual Communication OT 4

Contact

Name:
Joaquin Puig Gonzalez
Email:
Joaquim.Puig.Gonzalez@uab.cat

Teachers

Joaquin Puig Gonzalez

Teaching groups languages

You can view this information at the end of this document.


Prerequisites

Have  previously passed the subject “History of cinema” ( 2nd year , 2nd semester, OB)


Objectives and Contextualisation

-Familiarize the class with the analysis tools of a film
- Train the people in the class in the use of the aforementioned tools
-Provide people in the class with elements of theoretical reflection on any cinematographic work
-Learning of the people in the class in the meaning of the different film aesthetic models

Learning Outcomes

  1. CM05 (Competence) To assess innovations in the historical investigation models of film, radio and television productions.
  2. CM05 (Competence) To assess innovations in the historical investigation models of film, radio and television productions.
  3. KM10 (Knowledge) To cite the main methods for analysing and interpreting film, radio and television productions.
  4. KM11 (Knowledge) To recognise the main aesthetic movements in film, radio and television productions and their social impact.
  5. KM12 (Knowledge) To link specific film, radio and television productions to the structural and technological factors that exist in the field of Audiovisual Communication.

Content

 

1. The theory of aesthetic ideas of cinema

2. The cinematic formalism: S. M. Eisenstein and Béla Balàsz

3. The cinematic realism: Siegfried Krackauer, André Bazin and Jean Mitry 

4. Criticism as a prescription, film d’auteur and cinephilia

5. The "cahierist"criticism and Jean-Luc Godard

6.  David Bordwell and the American film ctheory

7.  The feminist criticism and the Queer Theory

8.  The political  criticism and the representation of the minorities in the cinema

9.  The documentary film criticism: Bill Nichols and Carl Plantinga

10. Cinema-going and New Cinema History


Activities and Methodology

Title Hours ECTS Learning Outcomes
Type: Directed      
Theoretical classes 37.5 1.5
Type: Supervised      
Reading, analysis and presentations 82.5 3.3
Seminars 15.5 0.62
Tutorials 7.5 0.3

The subject of "Film Theory and Analysis" is constituted by theoretical classes, seminars and presentations and tutorials.

 

Programation of the subject:

The detailed calendar with the content of the different sessions will be presented on the day of presentation of the subject. It will also be posted on the Virtual Campus where the class members will be able to find a detailed description of the exercises and practices, the various teaching materials and any information necessary for the proper monitoring of the subject. In the event of a change in the teaching modality for health reasons, the professor will inform of the changes that will occur in the programming of the subject and in the teaching methodologies.

 

Note: 15 minutes of a class will be reserved within the calendar established by the center or the degree for students to complete the surveys to evaluate the performance of teachers and evaluation of the subject or module

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Assessment

Continous Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Theoretical test 30% 2 0.08 CM05, KM10, KM11, KM12
Independent student work 50% 4 0.16 CM05, KM10, KM11, KM12
Seminars 20% 1 0.04 CM05, KM10, KM11, KM12

CONTINUOUS ASSESSMENT:
 
-An individual work that represents 50% of the final mark
 
-A written test with notes done in a group or individually. In the case of doing it in a group, the grade will be the same for all people. This test represents 30% of the final mark
 
- The selection and group presentation in a seminar on a topic previously agreed with the teacher. This exhibition represents 20% of the final mark.
If the three activities have not been approved, the subject will be suspended.
 
Recovery system:
 
In the event of a suspension, the work, the test or the presentation must be retaken. The teacher will indicate what was done wrong in each case and what needs to be done to rectify it
 
UNIQUE ASSESSMENT:
 
To pass the subject you must also take three tests: an individual work (50% of the final grade), a written test with notes (30% of the final grade) and a presentation (20% of the final grade) on a topic previously agreed with the teacher. The presentation must be made individually.
 
Recovery system:
 
In the event of a suspension, the work, the test or the presentation must be retaken. The teacher will indicate what was done wrong in each case and what needs to be done to rectify it
 
Irregularities:
 
People who commits any irregularity (copying, plagiarism, impersonation, ...) that could lead to a significant variation in the grade of an assessment act, will be graded with 0 in that assessment act. In case there are several irregularities, the final mark of the subject will be 0.

Bibliography

BIBLIOGRAFIA  GENERAL

Agee, James (2001)  Escritos sobre cine , Paidós, Barcelona.

Andrew, Dudley (1993)  Las principales teorias cinematográficas,  Rialp, Madrid

Bazin, André (2008) ¿Qué es el cine?  Rialp, Madrid

Bordwell, David (1995) El significado del film,  Paidós, Barcelona.

Bordwell, David (1995)  El arte cinematográfico: una introducción, Paidós, Barcelona

Bordwell, David, Staiger Janet, Thompson, Kristin (1996) El cine clásico de Hollywood, Barcelona, Ed. Paidós

Burch, Noël  (1987) El tragaluz del infinito. Contribución a la genealogía del lenguaje cinematográfico Madrid, Ed. Catedra

Butler, Judith (1990) Gender Trouble: Feminism and The Subversion of Identity, Routledge, Nueva York

Casetti, Francesco i Di Chio, Federico (1998) Cómo analizar un film, Paidós, Barcelona.

Català, Josep Mª: Cerdán, Josetxo y Torreiro, Casimiro. (2001)  Imagen, memoria y fascinación: notas sobre el documental en  España, Ocho y medio. Madrid.

Colaizzi, Giulia(2007)  La pasión del significante: Teoría del género y cultura visual, Biblioteca Nueva, Madrid

De Lauretis, Teresa (1987) Technologies of Gender: Essays On Theory, Film & Fiction, Indiana University Press, Bloomington, 1987

Gubern, Romà (2006) Historia del cine, Lumen, Barcelona

Maltby, Richard; Biltereyst, Daniël; Meers Philippe (2011) Explorations in new cinema history: approaches and case studies. Wiley- Blackwell, Hoboken 

Modleski, Tania (2021) Las mujeres que sabían demasiado. Hitchcock y la teoría feminista. El Mono Libre, Madrid

Mulvey, Laura  (1989) Visual and other pleasures, Indiana University Press, Bloomington

Nichols, Bill  (1997) La representación de la realidad Paidós, Barcelona

Nichols, Bill (2013) Introducción al documental,  UNAM, México 

Paszkiewicz, Katarzyna (2017) Rehacer los géneros.Mujeres cineastas dentro y fuera de Hollywood. Icaria, Barcelona

Sánchez Noriega, José Luis (2018)  Historia del cine. Teorías, estéticas, géneros, Alianza, Madrid

BIBLIOGRAFIA COMPLEMENTARIA

Aristarco, Guido (1996)  Los gritos y los susurros: diez lecturas críticas de películas, Universidad de Valladolid, Valladolid.

Aumont, Jacques y Marie, Michel (1990) Análisis del film, Paidós, Barcelona.

Bálazs , Béla (2011)  Early Film Theory,  Berghahn Books, New York 

Català, Josep. Mª (2009)  Pasión y conocimiento: el nuevo realismo melodramático, Cátedra, Madrid

Cerdán, Josetxo, Torreiro Casimiro Torreiro, (eds) (2005) Documental y vanguardia,  Cátedra, Madrid

Ebert , Roger (2003) Las grandes películas, Ma Non Troppo, Barcelona, 

Ebert , Roger (2006) Las grandes películas 2, Ma Non Troppo, Barcelona

Ebert , Roger (2008)  Las peores películas de la historia, Ma Non Troppo, Barcelona

Eisenstein, Serguei M. (2001) Hacia una teoría del montaje, Paidós, Barcelona

Eisenstein , Serguei M. (2003) La forma del cine,  Editorial Siglo XXI, México  

Eisenstein, Serguei M.  (1999) El Sentido del cine, Editorial Siglo XXI, Madrid

Eisenstein, Serguei M. (1990) Reflexiones de un cineasta, Lumen, Barcelona

Farber; Many (1974) Arte termita contra Arte elefante blanco y otros escritos escritos sobre cine, Anagrama, Barcelona.

Guarner, José Luis ( 1994) Autoretrato del cronista , Anagrama, Barcelona.

Kael, Pauline (1974) Kiss Kiss Bang Bang: el tiempo del cine, Marymar, Buenos Aires

Kracauer, Siegfried (1995) De Caligari a Hitler: Una historia psicológica del cine alemán. Barcelona, Paidós

Mitry, Jean (1967)Historie du cinema, Editions Universitaries, Paris

Metz, Christian (2002)  Ensayos sobre el significado del cine Paidós, Barcelona

Molina Foix, Vicente (1993) El cine estilográfico, Anagrama, Barcelona.

Nichols, Bill (1997) La representación de la realidad Barcelona, Paidós

Nicholls, Bill (2013) Introducción al documental,  UNAM, México 

Talens , Jenaro i Zunzunegi, Santos ( Eds.) ( 2007): Contracampo: ensayos sobre teoría e historia del cine, Càtedra, Madrid.

 

Al llarg de les classes es proporcionaran els enllaços als continguts audiovisuals de cada tema

 


Software

Students don’t need any specific software for this subject


Language list

Name Group Language Semester Turn
(SEM) Seminars 41 Catalan second semester morning-mixed
(TE) Theory 4 Catalan second semester morning-mixed