Videoart Workshop I

N/A

The methodological options leading to the fulfillment of the curricular unit’s program will focus on three fundamental pedagogical components:

6.1. Theoretical component – oral presentation oriented towards the foreseen contents, using multimedia resources whenever possible;

6.2. Practical component – practical exercises for exploring and consolidating the contents of the course.

6.3. Theoretical-practical component – study and presentation of works/productions;

The evaluation of the curricular unit will take place, by option of the student, in one of the following ways:

– Continuous evaluation;

– Exam.

6.4. Continuous evaluation will comply to explicit criteria and will involve the completion of 3 theoreticalpractical assignments, two collectively and one individually.

Distribution of continuous evaluation

work 3 – 30.0%

work 2 – 50.0%

work 1 – 20.0%

The exam will have a theoretical component, with a weight of 60%, and a practical component, with a weight of 40%.

3.1. To know and understand video work and authorship, integrating knowledge about both visual and experimental narratives, with the aim of creatively producing, transmitting and promoting an idea.
3.2. To know the methodology of the videographic project for acquiring a mastery of terminology on image composition, duration and rhythm.
3.3. Ability to operate and manipulate film, video and sound technology equipments.
3.4. Knowing how to apply different methodologies and processes suitable for post-production.

4.1. INTRODUCTION TO AUDIOVISUAL LANGUAGE

4.1.1 Theoretical contextualization of contemporary audiovisual media

4.1.2 Analysis and critical reading of works done by relevant filmmakers

4.2. PRE-PRODUCTION

4.2.1 Design structure of pre-production techniques

4.2.2 Observation, investigation and representation

4.3. PRODUCTION

4.3.1 Image composition: perspective, formats, contrast, light, color, camera movements and types of camera shots and angles

4.3.2 Use of audiovisual production equipment: specificities of digital video cameras, lenses, angles and tripods

4.4. POST-PRODUCTION

4.4.1 Image and sound editing: types of union, narrative clarity, speed and rhythm,

temporal elements, sequences and compression formats

4.4.2 Creative use of standard and special effects

4.5. NON-LINEAR EDITING

4.5.1 Video and solipsism

4.5.2 Abstraction processes – cognitive experience

• - Theoretical Component - 60.0%
• - Practical Component - 40.0%

• - Work 2 - 50.0%
• - Work 1 - 20.0%
• - Work 3 - 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