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Presentation
Presentation
With a transversal approach to the history of images and optical media, the curricular unit of Media Archeology intends to give a special focus to the mediations of moving image devices and cinema.
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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
ULHT6353-23330
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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
1. Technical images: from the optical unconscious to black boxes
2. Astonished and uncanny: technique as a novelty
3. Optical phenomena and human perception
4. The luminous projections of magic lanterns: from scientific to obscurantism
5. The performativity of moving images and the spectacles of Étienne-Gaspard Robertson
6. Optical illusion and apparent movement: optical devices and 19th century laboratories
7. Optical devices in the Portuguese context
8. (Artistic) remediations in cinematographic practices
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Objectives
Objectives
The archaeological perspective of this curricular unit, although privileging the field of cinema and its achievements, aims to look at the moving image within a visual culture that intersects with the history of the media. Contributing in this way, through an analysis of their programs and effects, to the recognition of recursive movements and different media remediation processes.
The goal of this curricular unit is also to produce in-depth knowledge around optical devices, recognizing a historical approach to their production context, focused on both their technical and artistic achievements.
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Teaching methodologies and assessment
Teaching methodologies and assessment
In this curricular unit there will be an expository theoretical approach to the emerging concepts in the archaeological perspective of the media, which will be complemented through in class discussion of selected texts. In some moments, direct contact with these devices and their experimentation will also be privileged.
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References
References
AUMONT, J. (2009). A Imagem. Lisboa: Texto & Grafia.
FLUSSER, V. (1998). Ensaio sobre a Fotografia: para uma filosofia da técnica. Lisboa: Relógio d'Água.
FRIEDBERG, A. (2006). The Virtual Window: from Alberti to Microsoft. Cambridge, Mass.: The MIT Press.
GUNNING, T. (1986). The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde. Wide Angle. Vol. 8, n.º 3 & 4 (Fall), p.63-70.
MACHADO, A. (1997). Pré-cinemas & Pós-cinemas. Campinas, São Paulo: Papirus.
MANNONI, L. (2003). A Grande Arte da Luz e da Sombra: Arqueologia do Cinema. São Paulo: SENAC.
ELSAESSER, T. (2016). Film History As Media Archaeology, Tracking Digital Cinema. Amsterdam: Univ. Press.
HUHTAMO, E. e PARIKKA, J. (2011). Media Archaeology. Approaches, Applications and Implications. Berkeley: Univ. of California Press.
ZIELINSKI, S. (2008). Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. Cambridge, Mass.: The MIT Press.
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Office Hours
Office Hours
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Mobility
Mobility
Yes
