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Presentation
Presentation
What is it to be a curator of an audiovisual collection today?
The experiential factor is fundamental to properly consider the challenges faced by audiovisual curatorship in contemporary times.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 8
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Year | Nature | Language
Year | Nature | Language
2 | Mandatory | Português
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Code
Code
ULHT6353-23339
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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 complex sociocultural context within which the concept of “film culture” emerged will be addressed. Events, partnerships, and projection cycles, essential for the exercise of audiovisual curatorship, will also be analysed. For example, the 1978 FIAF Congress in Brighton, whose exchange of archive materials allowed a profound rewriting of the history of cinema, will be highlighted. The role of the curator in the arts has evolved over the previous century, acquiring an “authorship” potential and expressive power which should be critically considered through conceptual, aesthetic, and political issues. In this sense, case studies such as Il Cinema Ritrovato, Le Giornate del Cinema Muto, the MoMA International Festival of Film Preservation, among other relevant events, will be examined. Digitalisation and the availability of online content has changed the power balance and the exhibition methods of archive materials, while allowing the approach of new audiences and scholars.
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Objectives
Objectives
This curricular unit aims to instruct students in the most relevant and up-to-date knowledge available on the different aspects that constitute the audiovisual curatorship activity.
First, the students will learn about the historical conditions that allowed for the emergence of this particular type of curatorship.Second, they will acquire interpretation and critical thinking skills in order to navigate the conceptual, aesthetic, and political challenges presented by the exercise of contemporary curatorship.
Finally, they will be able to devise informed and creative proposals allowing them to apply the knowledge acquired.
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Teaching methodologies and assessment
Teaching methodologies and assessment
N/A
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References
References
BILTEREYST, D., MALTBY, R. & MEERS, P. (2013), Cinema, audiences and modernity: new perspectives on European cinema history, London: Routledge.
BOSMA, P. (2005), Film programming: curating for cinemas, festivals, archives, Londron & New York: Wallflower.
DE VALCK, M., KREDELL, B. & LOIST, S. (2016), Film festivals: history, theory, method, practice, London: Routledge.HAGENER, M. (2014), The emergence of film culture: knowledge production, institution building, and the fate of the avant-garde in Europe, 1919–1945, New York: Berghahn Books.
LOIPERDINGER, M. (2012), Early cinema today, KINtop 1: the art of programming and live performance, Bloomington: Indiana University Press.
LUCIA, C. & HAMID, R. (2017), Cineaste on film criticism, programming, and preservation in the new millennium, Austin: University of Texas Press.
MEMORIAV. 2017. Digital Archiving of Film and Video: Principles and Guidance. Berna: MEMORIAV. http://memoriav.ch/recommendations-digital-archiving-film-video/
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Office Hours
Office Hours
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Mobility
Mobility
Yes
