Class Film Club - History of Cinema

Historical knowledge: authors and creative practices, cinematic movements, and genres. This course challenges the established view of film history as merely a chronological evolution of technologies, narrative forms, languages and national cinemas. The advent of cinema has had a profound impact on modern concepts of time, history, memory, the past and the future. The challenge lies in establishing interconnections and dialogues between films from different periods and reflecting on how the history of cinema continues to emerge in contemporary works. Therefore, the historicity of cinema implies rethinking its contemporaneity and its new forms, which provide fresh perspectives on films from the past.    

Not applicable

I. Film Club 1. Screening sessions, critical presentations, and debates of selected films, in articulation with the course topics. II. Frameworks and discussions 1. Methods and issues in Film History: critical approaches, chronologies, ruptures, and continuities. 2. Relations between History and Cinema: from the capture of reality to the construction of memory. 3. Archive, appropriation, and research practices: reuse of images, montage, and historiography. 4. Study approaches: cinema and society; gender politics; aesthetic and political movements; filmmakers and authorship; national and transnational cinemas; marginal cinemas. 5. Regional approaches: comparative case studies - center/periphery, global/local tensions. 6. Other cinemas (a): films by contemporary filmmakers from peripheries, Afro-diasporic cultures, and minorities. 7. Other cinemas (b): films by contemporary artists moving between gallery, museum, and cinema theatre.

The course combines theoretical lectures with applied studies, focusing on critical film analysis through screenings and debates. In-depth case studies will be employed to connect theory and practice, fostering active and reflective learning. Seminar discussions will encourage the exchange of perspectives and the use of comparative methodologies across different cinemas, enhancing students’ critical autonomy.

AUMONT, Jacques (2002). As Teorias dos Cineastas. Tradução de Marina Appenzeller. São Paulo: Papirus Editora (2004) BÉNARD DA COSTA, João (1991). Histórias do Cinema Português. Lisboa: IN-CM BERTETTO, Paolo (2010). La Macchina del Cinema. Bari: Editori Laterza COLAIZZI, Giulia (ed.) (2021). Cine, Interculturalidad y Políticas de Género. Madrid: Cátedra COMOLLI, Jean-Louis, RANCIÈRE, Jacques (1997). Arrêt sur Histoire. Paris: Editions du Centre Pompidou DABASHI, Hamid (2001). Close Up Iranian Cinema. Past Present Future. Verso Book DIAS, Inês S.; FAZENDA, Maria do Mar; DUARTE, Susana Nascimento (orgs.) (2018). O Que é o Arquivo? Laboratório Arte/Arquivo. Lisboa: Documenta EISNER, Lotte (1952). The Haunted Screen. University of California press (20008)