Video Art

N/A

The methodological options leading to the fulfillment of the curricular unit program will focus on the following pedagogical strategy:
6.1.Theoretical – oral exposure targeted to the content provided, by using different materials sup-ports;
6.2.Laboratory work – application of the content provided;
6.3.Theoretical-practical component – study and presentation of works / productions and their authors.
The curricular unit can be performed by:
– Continuous evaluation;
– Examination mode.

6.4.The continuous evaluation
1st work (Audiovisual Imagery) – 30% in the global assessment;
2nd work (Auto-Representation) – 30% in the global assessment;
3rd work (Installation+Video) – 40% in the global assessment.

6.5.Exam
– Theoretical component – 35% in the overall assessment of the exam;
– Practical component – 65% in the overall assessment of the exam.

3.1.To know and understand the works and authors of the video, integrating knowledge about visual, experimental narratives in order to produce, transmit and creatively promote an idea;
3.2.To know the methodology of ideographic project in order to acquire a domain on a terminology about image composition, duration and rhythm;
3.3.Ability to operate and manipulate technology equipment filmic, video graphic and sound;
3.4.To apply different methodologies and processes appropriate to the post-production.

4.1.INTRODUCTION TO THE AUDIOVISUAL DISCOURSE
4.1.1.Theoretical contextualization Audiovisual Media in Contemporary;
4.1.2.Analysis and critical works of cinema and videographers relevant.
4.2.PRE-PRODUCTION
4.2.1.Structure of the project-technical pre-production: Research and Scriptwriting;
4.2.2.Preparation of a storyboard – the outline of a narrative.
4.3.PRODUCTION
4.3.1.Composition image: perspective, shapes, contrast, color, light, camera movements and types of frames;
4.3.2.Use of devices for video and audio production: specifics of a digital video camera, lenses and angles and tripods.
4.4.POST-PRODUCTION
4.4.1.Image Editing and Sound: union types, narrative clarity, speed and rhythm, temporal elements, sequences and compression formats;
4.4.2.Creative use of standardized effects and special effects.
4.5.NON-LINEAR EDITING
4.5.1.Video and solipsism;
4.5.2.Processes of abstraction – cognitive experience.

• - Practical component - 65.0%
• - Theoretical component - 35.0%

• - 3rd Work - 40.0%
• - 2nd Work - 30.0%
• - 1st Work - 30.0%

NAO

Arnheim, R. (1989). A arte do cinema. Edições 70
Brindle, M. (2013). The digital filmmaking handbook.Quercus Publishing Plc.
Dufour, S. (2008). L’image vidéo; D’Ovide à Bill Viola.Archibooks.
Dunn, R. (2004). Vídeo digital.McGraw-Hill.
Ellis, J. (1982). Visible fictions: cinema, television, video. Routledge & Kegan Paul.
Gaskel, E. (2003). The complete guide to digital video. Ilex.
Kuspit, D. (2006). Arte Digital y Videoarte. Transgrediendo los límites de la represen-tación. Ediciones Pensamiento.
Rancière, J. (2012). Os intervalos do cinema. Orfeu Negro.