Curricular Unit:			Code:
Anthropology, Communication and Documentaries			150ACD
Year:	Level:	Course:	Credits:
2	Undergraduate	Cultural Studies	5 ects
Learning Period:		Language of Instruction:	Total Hours:
		Portuguese/English	65
Learning Outcomes of the Curricular Unit:
obtaining basic training with regard to the place of registration and cinematic art in science and social intervention; problematize reflective mode the use and production of the recording medium. Acquire skills to critical analysis capacity of the documentary film record
Syllabus:
UL1 1. culture as shared meanings 2. The cinematographic art: the camera and the representation of the real 2.1.sistemas representation and visual recording technologies 2.1.1.o power of image: Susan Sontag and Roland Barthes 3.ficção vs documentary - questioning   UL2 2 social documentary: roots (styles, objectives, narratives and public) 2.1. the great colonial systems 2.2. tradition 'documentarizante' 2.2.1. The Soviet cinema: Eiseinstein and Vertov 2.2.2.a National Socialist Germany: Leni Riefenstahl 2.2.The romantic realism Robert Flaherty 2.3. social realism British documentaries John Grierson and the Empire Marketing Board / General Post Office 2.4.O observational film anthropological documentaries Jean Rouch UL3 3.1. Portuguese documentaries: past and present 3.2. social documentaries at present
Demonstration of the Syllabus Coherence with the Curricular Unit's Objectives:
Analysis of the role of the film as a method of field work recording in the social sciences and in social intervention. The technical evolution and the different aesthetics trends in film. Documentary as non-fictional film; Filming the 'real': issues related to authorship and authenticity.
Teaching Methodologies (Including Evaluation):
Lectures of expositive nature two written tests (50% + 50%)
Demonstration of the Coherence between the Teaching Methodologies and the Learning Outcomes:
The nature of the course is eminently theoretical This is in line with the type of classes and with the analytical skills and understanding to acquire and develop.
Reading:
BARNOW, Erik, (1983), Documentary- A history of the non-fictional film, (1974), Oxford University Press, 1983 COSTA, Catarina Alves (2015) “Dos dispositivos de resposta à experiência etnográfica”, Barbosa, Andrea et al (eds.) A Experiência da Imagem na Etnografia, São Paulo: Coleção Antropologia Hoje, Ed. Terceiro Nome. pp 325-333 COSTA, Catarina Alves (2015) “Perspectivas, caminhos e políticas de futuro para a antropologia visual” em Peixoto, C. E Copque, B. (orgs.) Etnografias Visuais. Análises Contemporâneas. Ed. Garamond, Rio de Janeiro. pp. 181-189. HOCKINGS, Paul, (ed), (1976), Principles of Visual Anthropology, Mouton Publishers, 1976 LOIZOS, Peter, (1993), Innovation in Ethnographic Film : From Innocence to Self-Consciousness, 1955-85, University of Chicago Press, 1993 PENAFRIA, Manuela (org), (2016) Propostas para a Teoria do Cinema - Teoria dos cineastas, Covilhã: Livros Labcom.IFP