The subject "History of cinema and other audiovisual arts" is a compulsory subject in the 3rd year of the Degree in Art History. Its function is to deepen the study of the audiovisual arts that are part of the Degree, paying particular attention to this artistic form developed fundamentally in the 20th century and within the framework of mass culture. It is a subject that is limited to the state level and that complements the training received by the student in the mandatory global subject.



In the subject, the production process of cinema is studied chronologically, with its important technological and industrial component. Attention is also paid to the great personalities who have marked its history from direction, script, interpretation, production or handling of the camera. Additionally, the mechanisms of cinema dissemination that create reputations, icons or terms of style are also taken into account.



On the other hand, the basic elements that make up audiovisual language and its narrative techniques are also presented in chronological order, with special attention to the relationship of cinema with literary creation, theater, music and other disciplines. The material, philological and heritage aspects of cinematographic art are also taken into account.



In this way, at the end of the subject the student will be able to generally know the fundamental vectors that govern the functioning of the world of cinema in its temporal development.

Qualification Competencies



G005 Be able to carry out critical analysis of texts, documents and other materials on works and artistic-historical issues.



G006 Be able to develop oral and written expression at a university degree and in the discipline of art history.



G007 Be able to relate and apply the specific knowledge of the degree with other nearby areas and disciplines.



G001 Be able to analyze and interpret artistic processes throughout the centuries, valuing the succession of styles, the role of artists and the theory of the arts.



G002 Be able to classify and comment comprehensively (style and iconography) on the different works of architecture, sculpture, painting, cinema, music and other arts in their historical and artistic moment with the specific languages of each artistic discipline.



G004 Be able to analyze and interpret historical processes through the work of art as a relevant document of social and cultural history, along with other textual and material testimonies.



Competencies of the module and the Subject



CM01. Be able to understand and analyze the main lines of the History of cinema from its birth to the current moment (G001, G002, G004, G005)



CM02. Be able to analyze audiovisual works to understand and study cinematographic movements, currents and trends and be able to compare these works with previous, contemporary and later works (G001, G002, G004, G005).



CM03. Be able to analyze and understand the relationship between cinema and history through the films watched, taking into account the social, political and historical context of the films and their periods (G004, G007)



CM04 Be able to evaluate audiovisual works viewed as works of art, establishing comparisons with other artistic disciplines and methodologies (G001, G002, G003, G005)

0. Introduction: Presentation of the subject.

1. Silent cinema in France.

2. Germany. The Weimar cinema.

3. Cinema and avant-garde in France and Italy.

4. Silent cinema in the United States.

5. The Soviet Union. Bolshevik revolution and cinema.

6. The transition from silent to sound. Europe in the 1930s and 1940s.

7. Development of classic American cinema.

8. From Italian neorealism to the new European cinemas.

9. New languages in American cinema in the 50s and 60s.

10. Cinema from the 70s to the end of the 20th century.

11. Peripheral cinematographies.

12. The other audiovisual arts.

1. Theoretical sessions: The teacher will present the fundamental theoretical contents of the subject in face-to-face and/or virtual classes if the health situation requires it.



2. Mandatory practical sessions according to current regulations: Students will analyze films and other audiovisual materials with the help of the teacher. Debate will be generated and students' critical spirit will be encouraged regarding the audiovisual works analyzed. Oral and written comments will be carried out on sequences and fragments of films analyzed in class. Written and theoretical sources on the analyzed works will also be taken into account, as well as works from other artistic disciplines: painting, sculpture or architecture, related to the audiovisual works treated. The relationship between literature and audiovisual will not be forgotten when facing script analysis or film references. In these cases, the efficiency and quality of the results will be evaluated in the practical exercises delivered. The debate and audiovisual analysis will be a group activity but the delivery of the specific exercises will be an individual task.



3. External activities. Film analysis of sequences and films: Group work on a film sequence. The students must collectively form teams, choose a sequence from a film related to the subject and do an analysis and a brief written work on it that must be presented in the classroom, as a poster, or virtually if possible. health situation requires it. The group presentations will be witnessed by the rest of the students and after each presentation, which will not last more than 15 minutes, there will be another 15 minutes for debate and reflection about what was presented. Students will also, individually, prepare two individual deliverable tasks throughout the course that will be specified later.



4. Non-face-to-face activities.

- Tutorials

- Preparation of assignments and deliverables by students individually or in groups, using tutorials with the teacher if necessary.

- Preparation of the final written test.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Written test to be taken (%): 60
  • Oral defense (%): 10
  • Individual works (%): 20
  • Team projects (problem solving, project design)) (%): 10

Students will have the right to be evaluated through the final evaluation system, regardless of whether or not they have participated in the continuous evaluation system. To do so, those interested must submit in writing to the teaching staff responsible for the subject the waiver of continuous evaluation, for which they will have a period of 9 weeks, counting from the beginning of the semester.

The evaluation of the subjects in the extraordinary calls will be carried out exclusively through the final evaluation system in which the students will be able to obtain 100% of the grade. The final evaluation test of the extraordinary call will consist of the two parts of the final theoretical test:

- Written test 1. 20 short questions

- Written test 2. Analysis of a sequence from a film seen in class.



If the students come from the ordinary call, the grade for the presentation of the group practice and the deliverable tasks will be kept for them, which will account for 40% of the final grade. The other 60% will be achieved by passing the two parts of the written test, which each represent 30% of the final grade. In the event that students come from a previous course, the value of the two parts of the written test will increase to 50%.

Recommended films

01. Lumière Brothers Films.
02. Le voyage dans la lune (1903), George Méliès (France)
03. Das Cabinet des Dr. Caligari (1919), Robert Wiene (Germany)
04. Der Letzte Mann (1924), Friedrich Wilhelm Murnau (Germany)
05. Metropolis (1925), Fritz Lang (Germany)
06. Un chien andalou (1928), Luis Buñuel (France)
07. The Great Train Robbery (1904), Edwin S. Porter (USA)
08. The Birth of a Nation (1915), David Wark Griffith (USA)
09. Modern Times (1935), Charles Chaplin (USA)
10. Bronenosez Potiomkine (1925), Sergei M. Eisenstein (Soviet Union)
11. L’Atalante (1934), Jean Vigo (France)
12. Stagecoach (1939), John Ford (USA)
13. Casablanca (1942), Michael Curtiz (USA)
14. Citizen Kane (1942), Orson Welles (USA)
15. Ladri di biciclette (1948), Vittorio de Sica (Italy)
16. Ordet (1955), Carl Theodor Dreyer (Denmark)
17. Les quatre cents coups (1959), François Truffaut (France)
18. The Night of The Hunter (1955), Charles Laughton (USA)
19. Psycho (1960), Alfred Hitchcock (USA)
20. Some Like it Hot (1959), Billy Wilder (USA)
21. Taxi Driver (1976), Martin Scorsese (USA)
22. Blade Runner (1982), Ridley Scott (USA)
23. Night on Earth (1991), Jim Jarmusch (USA)
24. Trainspotting (1996), Danny Boyle (UK)
25. Shichinin no samurai (1954), Akira Kurosawa (Japan)
26. Cidade de Deus (2002), Fernando Meirelles (Brazil)

Basic bibliography

AGUILAR, C. Guía del vídeo-cine. Cátedra. Madrid (Varias ediciones).

- CARMONA, R. Como se comenta un texto fílmico. Cátedra. Madrid 1991.

- PALACIOS, J. La fábrica de sueños. Espasa. Madrid 2003.

- SÁNCHEZ NORIEGA, J.L. Historia del cine. Alianza. Madrid 2007.

- VV.AA. Historia general del cine. (12 vols.) Cátedra. Madrid 1995-1998.- I Orígenes del cine.- II Estados Unidos (1908-1915).- III Europa (1908-1918).- IV América (1915-1928).- V Europa y Asia (1918-1930).- VI La transición del mudo al sonoro.- VII Europa y Asia (1929-1945).- VIII Estados Unidos (1932-1955). VII Europa y Asia (1929-1945).- VIII Estados Unidos (1932-1955).-IX Europa y Asia (1945-1959), - X Estados Unidos (1955-1975). América Latina. ¿ XI Nuevos cines (Años 60), - XII El cine en la era del audiovisual.

In-depth bibliography

ABAJO DE PABLOS, J.J. Vittorio de Sica. Su vida, su obra, su cine. Ed. Fancy. Valladolid 2000.
- AMENGUAL, B. Sergei M. Eisenstein. El acorazado Potemkin. Paidos. Barcelona 1993.
- BILLARD, P. L¿Age classique du cinéma français: Du cinéma parlant à la Nouvelle Vague. Flammarion. Paris 1995.
- CASAS, Quim. Fritz Lang. Catedra. Madrid 1991.
- CASTRO DE PAZ, J.L. Alfred Hitchcock. Ed. Cátedra 2000.
- COMA, J. Historia del cine americano/2 (1930-1960). Laertes. Barcelona 1993.
- DREYER, C.Th. Sobre el cine. Seminci. Valladolid 1995.
- EISNER, Lothe. La pantalla demoniaca. Las influencias de Max Reinhardt y el expresionismo alemán. Catedra. Madrid 1988.
- ELENA, A. Los cines periféricos. Paidós. Barcelona 1999.
- FOIRET, Jacques eta BROCHARD, Philippe. Los hermanos Lumière y el cine. Ayuntamiento de Girona 1995.
- GOROSTIZA, J. y PÉREZ, A. Blade runner. Paidós. Barcelona 2002.
- MONTERDE, J.E. Martin Scorsese. Cátedra. Madrid 2000.
- RIAMBAU, E. Charles Chaplin. Catedra. Madrid 2000.
- SÁNCHEZ VIDAL, A. Luis Buñuel. Catedra. Madrid 1991.
- SOJO, K. (ed.). Sobre el cine alemán. De Weimar a la caída del muro. NEFF. Vitoria-Gasteiz 2006.
- URKIJO, F.J. John Ford. Cátedra. Madrid 1996.
- VIDAL ESTEVEZ, M. Akira Kurosawa. Cátedra. Madrid 1992.

Journals

Dirigido
Cuadernos cinematográficos
Cahiers de cinema
Secuencias
Vértigo
Nosferatu
Fotogramas
Imágenes de actualidad
Bandaparte
Plano corto
Acción
Cinerama

Web addresses

www.imdb.com
www.cinehistoria.com
www.cervantesvirtual.com
www.filmotecadecine.com
www.miradas.net
www.cineuropa.org
www.cinematequefrancaise.com
www.monteuve.com
www.filmaffinity.com
www.labutaca.net
www.muchocine.net

- El cine, un recurso didáctico: http://www.ite.educacion.es/formacion/materiales/24/cd/indice.htm
- International Movie Data Base: http://www.imdb.com/
- Cineuropa: http://www.cineuropa.org/
- Filmaffinity: https://www.filmaffinity.com/es/
- Miradas de cine: https://miradasdecine.es/
- Muchocine: http://www.muchocine.net/