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Presentation
Presentation
The Curricular Unit focuses on the knowledge, critical analysis and integration of historical, authorial, aesthetic and technical references from animation cinema, relating them to the development of the student's personal and professional practice, both in the context of authorial creation and commercial production. It thus aims to contribute to the consolidation of an informed visual culture capable of supporting the artistic, technical and conceptual choices of future animation professionals.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 4
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULHT2165-15903
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
The origins and pioneers of animation cinema. North American animation: from the formation of the industry to the consolidation of the major studios. European experimental animation up to the Second World War. The National Film Board of Canada and the development of auteur animation. Animation in Central and Eastern Europe up to Perestroika. Limited animation: UPA and the Zagreb School. Japanese animation: authors, aesthetics and production models. Case studies in contemporary animation.
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Objectives
Objectives
The Curricular Unit aims to promote an understanding of the importance of historical, theoretical, authorial, aesthetic and technical sources as foundations for the critical study of animation cinema. By the end of the Curricular Unit, students should be able to demonstrate knowledge of the history and theory of animation cinema; identify and contextualise authors, works, styles, techniques and production models; critically analyse films and other animated works using the knowledge and concepts acquired; select, relate, interpret and integrate relevant sources into their research and creative processes; develop autonomous and rigorous methods of research, analysis and critical argumentation; relate the references studied to the development of their personal, authorial, technical or research projects; and present, discuss and critically examine ideas and projects in class, contributing to collective debate in a critical and well-founded manner.
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Teaching methodologies
Teaching methodologies
Classes alternate between seminars, commented screenings of films or film excerpts, student presentations, and discussions moderated by the lecturer. Each student will complete three research assignments. The first two will be proposed by the lecturer in the form of riddles or open research questions, designed to stimulate curiosity, individual interest, and autonomous investigation. The third will be based on a proposal developed by the student, preferably related to their project or area of interest, and approved by the lecturer. The presentations and discussions are connected to the syllabus and promote critical analysis, research autonomy, oral communication, and the collective construction of knowledge.
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References
References
Ajanovic, M. (2024). Animation in Croatia: Zagreb School and beyond. CRC Press. Bendazzi, G. (2015). Animation: A world history. CRC Press. Buchan, S. (Ed.). (2006). Animated worlds. John Libbey Publishing. Cholodenko, A. (Ed.). (1991). The illusion of life: Essays on animation. Power Publications. Crafton, D. (1984). Before Mickey: The animated film 1889-1928. MIT Press. Denis, S. (2010). O cinema de animação. Edições Texto & Grafia. Furniss, M. (2016). Animation: The global history. Thames & Hudson. Larsen, D. (2024). Moving pictures: A history of American animation from Gertie to Pixar and beyond. Rowman & Littlefield. Lent, J. A. (Ed.). (2000). Animation in Asia and the Pacific. John Libbey. Pilling, J. (Ed.). (1997). A reader in animation studies. John Libbey. Saint-Pierre, M.-J. (2024). Women and film animation: A feminist corpus at the National Film Board of Canada, 1939-1989. CRC Press.
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Assessment
Assessment
A avaliação assenta na participação regular nas aulas e na realização de três trabalhos de investigação, apresentados oralmente à turma. Os dois primeiros trabalhos serão propostos pelo docente sob a forma de enigmas a investigar, enquanto o terceiro partirá de uma proposta do estudante, previamente validada pelo professor.
Cada trabalho deverá ser apresentado com recurso a um suporte visual em formato Keynote, PowerPoint ou equivalente, integrando de forma clara e pertinente citações, referências bibliográficas, imagens, segmentos de vídeo e outros materiais relevantes para a investigação. A apresentação deverá demonstrar capacidade de síntese, organização da informação, rigor na utilização das fontes e articulação entre os elementos visuais e a exposição oral.
A presença e a participação responsável, respeitosa e fundamentada são indispensáveis ao funcionamento da Unidade Curricular, atendendo à sua natureza seminarial e à importância do debate coletivo sobre autores, obras, técnicas, referências e contextos históricos do cinema de animação.
Presença, participação e contributo para o debate em aula: avaliação semanal - 40%.
Três apresentações temáticas de investigação: avaliação pontual - 60%.
O exame consiste na elaboração de um ensaio crítico sobre um tema, autor, artista, obra ou técnica relacionados com o cinema de animação. O texto deverá ter entre 1500 e 2500 palavras, apresentar uma argumentação fundamentada, recorrer a fontes devidamente identificadas e cumprir as normas de citação e referenciação bibliográfica (APA 7).
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Mobility
Mobility
No
