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Presentation
Presentation
The course unit is situated within the field of audiovisual communication and seeks to foster an advanced engagement with creative practice in this domain. It is structured as a laboratory-based discipline, in which students undertake research and the development of their concepts, while also sharing and collectively discussing their work. The course unit aims to provide a comprehensive understanding of the languages and forms associated with diverse genres of contemporary audiovisual and cinematographic artistic production. The scripts developed within the framework of this course unit may serve as a foundation for subsequent course units—Audiovisual Creation Project and Multimedia Creation Project—offered in the following second semester, where students are expected to produce two short films, one in fiction and one in documentary, as well as a multimedia exhibition, to be presented in the context of Multiplex.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
3 | Mandatory | Português
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Code
Code
ULP728-4444
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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
I- STUDY OF NARRATIVE GENRES IN AUDIOVISUALS The experimental in the moving image The moving image as a sensory experience Fiction: genres and dramaturgy Non-fiction: documentary modes and filming “the real” Advertising narrative models Music video strategies Avant-garde and post-narrative cinema II - DEVELOPMENT AND WRITING Content construction and conceptualization processes Script for Art-Multimedia Script for Advertising, Corporate Video and Music Video: Fiction Dossier The script for fiction Documentary dossier The Documentary Script
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Objectives
Objectives
The course aims to foster creativity in the development and writing of scripts and project research. The aim is for students to acquire knowledge of a wide range of audiovisual genres and their respective languages. They should also be able to conceptually and narratively develop a project for each of these genres.
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Teaching methodologies
Teaching methodologies
Promotion of active methodologies through creative discussion of projects and practical exercises. Expository and interrogative methodologies through the viewing and analysis of video clips in class. Encouraging collaborative writing with online tools, such as specific writing platforms for screenplays (e.g. Celtx, WriterDuet, etc.), so that students work together in real time to develop their writing. To this end, working groups will be set up where students can develop scripts in real time, with feedback from classmates and teachers. Presentation of the final scripts in pitching mode to professionals in the film industry (screenwriters, directors and producers), in an open session at the end of the year, at the Universidade Lusófona- Centro Universitário do Porto.
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References
References
Berger, J. (1972). Ways of seeing. Penguin Books. Field, S. (2005). Screenplay: The foundations of screenwriting. Delta. McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. HarperCollins. London, B. (2021). Video/Art: The First Fifty Years Nogueira, L. (2013). Géneros cinematográficos. LabCom Books. Nichols, B. (2012). Introdução ao documentário. Papirus. Rabiger, M. (2014). Developing story ideas (3rd ed.). Routledge. Rabiger, M., & Hurbis-Cherrier, M. (2020). Directing the documentary (7th ed.). Routledge. Rees, A. L. (2011). A history of experimental film and video: From the canonical avant-garde to contemporary Uroskie, A.V. (2014). Between the Black Box and the White Cube: Expanded Cinema and Postwar Art Vogler, C. (2015). A Jornada do escritor: Estrutura mítica para escritores. Record. Winston, B. (2008). Claiming the real: The documentary film revisited. BFI Publishing.
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Assessment
Assessment
A avaliação é contínua (AC), de acordo com o Regulamento da Universidade Lusófona, e todos os elementos têm carácter obrigatório. A ausência de algum elemento implica a reprovação à UC de Guionismo, passando de imediato para Exame de época de recurso. Com efeito, sendo esta UC de AC, os estudantes devem, igualmente, observar as regras de assiduidade do Regulamento, que prevê um máximo de 30% de faltas, incidindo no total de horas lecionadas, por docente (Prof. Vanessa Ribeiro-Rodrigues = 30 horas + Prof. Nuno Bernardo = 30 horas). Ou seja, resulta no máximo de faltas a 2 sessões, por docente. O não cumprimento da assiduidade implica a reprovação à UC, salvaguardando casos específicos, a ser analisados pontualmente.
A nota final da unidade curricular corresponde a 100% e resulta da ponderação conjunta entre os dois módulos: cada docente atribui 50% da avaliação. No entanto, cada docente pode avaliar os trabalhos do seu módulo como correspondendo a 100% da nota desse módulo. Posteriormente, essas classificações são ajustadas proporcionalmente, de forma a garantir que ambas as componentes (50%+50%) perfazem a avaliação total da unidade curricular.
MULTIMÉDIA E VÍDEO ARTE
PROF. NUNO BERNARDO (50%)
Exercícios em Aula
Durante todo o semestre (20%)
Guião para Arte-Multimédia
Data a designar (40%)
Guião para Publicidade, Vídeo Institucional
ou VideoclipeData a designar (40%)
FICÇÃO E NÃO FICÇÃO
PROF. VANESSA RIBEIRO-RODRIGUES (50%)
Exercícios em Aula
Durante todo o semestre (20%)
Progresso dos guiões (ficção e não ficção)
Durante todo o semestre (30%)
Guião para curta de ficção e pitching final
Data a designar (25%)
Guião para curta de documentário e pitching final
Data a designar (25%)
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Mobility
Mobility
Yes
