Sumários

Visual literacy applied to film analysis

5 Fevereiro 2019, 10:00 • Cecília Maria Beecher Martins

An introduction to the terms of visual literacy in particular those related to mise-en-scene. 

Also an introduction to the concepts associated with the semiotics of film production and how directors use the concepts involved in their work. 
Introduction to the concepts of synedoche, denotation and connotation as applied to film production.
Exemplification of the different elements of mise-en-scene. 

Introduction to the different levels of "reading" film stills with a film still from The Trial (1962) by Orsen Wells. 
Students applied the principles of visual literacy previously presented to help them interpret the still. 
Then reviewed their interpretations in light of the descriptions on page 16 of the manual.
1. direct reading of the narrative of the still.
2. a denotative reading
3. a connotative reading. 

For next class students should examine the 2 film stills from Clint Eastwood's Sully (2016) in the manual (p17) using visual literacy principles. 

Left glossary of "Basic Visual Literacy Terms and Definitions" in red photocopy shop 

Reading comprehension and discussion

31 Janeiro 2019, 10:00 • Cecília Maria Beecher Martins

Discussion of the set novels. Correct of the Cambridge Proficiency Reading Comprehension exercise on "Is this Art?"  

Discussion of analysis criteria and the content of the text itself.
Continuation of student discussion of the Johns Hopkins check list on "Why the Arts are Important".
Left students with the imagine of Ai Weiwei's  piece "Jade Handcuffs" – presented in the Royal Academy Exhibition, London 2015 - gave the backround to the piece and asked students to consider its classification as "art". Discussion point for next class. 


Presented course programme and evaluation system

29 Janeiro 2019, 10:00 • Cecília Maria Beecher Martins

Presented course programme and evaluation system

Began the discussion of Johns Hopkins University - School of Education checklist "Why the Arts are Important"

Students were divided into groups of 2 or 3 and selected one of the elements on the lists - class discussion up to no. 4.

General Objects and Learning Outcomes for English in the World of the Arts: C2
 
The principle objective of this Curricular Unit is to encourage students to develop a reflective and analytical encounter with the arts, in particular cinema and literature and produce oral and written criticism to an. academic level.
In the Curricular Unit, we will examine
 
1.      How human lives are enveloped in stories
2.      how the arts (in our particular case cinema and literature) can
a)      provide the vocabulary to express sentiments felt
b)      help create the social stories

 At the end of this Curricular Unit students will have acquired the linguistic and practical skills required to write academic film and literary criticism in English and present the same type of analysis orally in class.

As this CU is a thematic English language CU at C2 level all written and oral exercises will be graded at this level and students will be evaluated according to this pattern, so students will be expected to produce work to a C2 level.

 At the end of this Curricular Unit students will have acquired the linguistic and practical skills required to write academic film and literary criticism in English and present the same type of analysis orally in class.

As this CU is a thematic English language CU at C2 level all written and oral exercises will be graded at this level and students will be evaluated according to this pattern, so students will be expected to produce work to a C2 level. 

Syllabus

 

1. Introduction of grammatical and lexical contents necessary for film and literary analysis.

2. Introduction to the techniques used in formal film or literary criticism.

3. Based on the theories presented by John McLeod in Narrative and Psychotherapy (1997) and Miranda Fricker in Epistemic Injustice: Power and the Ethics of Knowing (2007), a discussion of the arts (in our particular case film and literature) as reflectors/impulses of social change as they provide “the vocabulary” to express sentiment.

4. Inter-art approaches – how creators are influenced by other arts and a brief look at adaptation from literature to film to graphic novel.

 

 

Evaluation: 

40%: Written test based on theoretical elements of the program - 9th May 2019

30%: 2 x 1,500-word written assignments - 1st 26 March 2019; 30th April 2019

30%: Continuous Assessment made up of grades arising from class participation as well as oral assignments. All students must perform at least one class presentation of CU material during the semester because students will be assessed throughout the semester on oral and written work in keeping with the Regulamento Geral de Avaliação da Faculdade de Letras da Universidade de Lisboa.

Set Reading:

Anthology for “English in the World of the Arts: C2” available at the beginning of the semester.

 

One of the following novels: 

Bronte, Charlotte (2006) [1847] Jane Eyre, Penguin Classics.

Tóibín, Colm (2014) Nora Webster.  Scribner.

 

Reference Reading:

Barnet, Sylvan & Cain, William, E. (2011) A Short Guide to Writing about Literature 12th Ed, New York: Longman

Corrigan, Timothy (2001) A Short Guide to Writing about Film 5th Ed, New York: Longman. Fricker, Miranda (2009) [2007] Epistemic Injustice: Power and the Ethics of Knowing. Oxford & New York: Oxford University Press.Han,

Holland, Norman (2006) Meeting Movies, Madison & Teaneck: Fairleigh Dickinson University Press.

._____& Schwartz, Murray (2008) Know Thyself Delphi Seminars, Gainesville Fl: The PsyArt Foundation.

McLeod, John (1997) Narrative and Psychotherapy, London & New Delhi: Sage.

 

Filmography

 

Capra, Frank (Dir) (1937) Lost Horizon, Columbia. DVD, (132 mins).

Cukor, George (Dir) (1944) Gaslight, Metro-Goldwyn-Mayer, DVD

Emery, Crystal R. (Dir.) (2016) Black Women in Medicine. With The URU Right To Be. DVD.

Minghella, Antony (Dir) (1999) The Talented Mr Ripley. Miramax & Paramount. DVD (139mins)