1 CURRICULAR UNIT FORM (FUC) 3RD SEMESTER
CURRICULAR UNIT FORM (FUC)
3RD SEMESTER - SCHOOL YEAR 2015 / 2016
1. CURRICULAR UNIT - 3 ECTS CREDITS
Film Production and Culture Industries.
2. INSTRUCTOR IN CHARGE
Paulo Otavio Bezerra Leite
AND INDIVIDUAL TEACHING TIME
IN THE FULL
3. OTHER INSTRUCTORS AND THEIR TEACHING TIME (FILL IN THE FULL NAME)
4. LEARNING OBJECTIVES (KNOWLEDGE, SKILLS AND COMPETENCIES TO BE
DEVELOPED BY THE STUDENTS) (1000 CHARACTERS MAX)
How to turn creativity into cash - wealth, capital and profit? It is not enough just have
an idea - what matters is what you do with it. This course will examine what we call
"Creative Industries" and help students understand how do they work, how do they
articulate themselves with art and how they are legally framed.
5. SYLLABUS (1000 CHARACTERS MAX)
The art of the patent - the first talent
The growth of intellectual property
All creative industries.
Click and go.
Mind as capital.
Discussion of papers.
6. PROOF OF COHERENCE BETWEEN THE SYLLABUS AND THE LEARNING OBJECTIVES
(1000 CHARACTERS MAX)
Being the only chair in the course truly devoted to the subject, it is necessary, first of
all, to understand the creative industries and demystify several common places about
it. For this, nothing better than to explain them one by one.
7. TEACHING METHODS (INCLUDING ASSESSMENT) (1000 CHARACTERS MAX)
This is both a theoretical and practical unit, divided into 10 classes mostly expository
in nature, where they will be discussed specific cases of success in the Creative
OF COHERENCE BETWEEN THE TEACHING METHODS AND THE LEARNING
OBJECTIVES (3000 CHARACTERS MAX)
This methodology is coherent because the content along classes makes the students
understand the workings of the creative industries as a whole.
9. MAIN BIBLIOGRAPHY (1000 CHARACTERS MAX)
Balio, Tino – American Film Industry, The – Wisconsin University Press, 1985.
Capote, Truman – In Cold Blood – Penguin – 1965.
Collier, Maxie D. – The Ifilm Digital Video Filmmaker’s Handbook – Ifilm, 2001.
Clemens, John K.; Mayer, Douglas F. – O Toque Clássico: A Arte de Liderar de
Homero a Hemingway – Difusão cultural, 1987.
Franklin, Jon – Writing for Story – Penguin – 1994.
Houghton, Buck – What a Producer Does – Silman James Press, 1991.
Mamet, David – On Directing Film – Faber & Faber, 1988.
Mamet, David – True and False: Heresy and Common Sense for the Actor – Faber &
Manovich, Lev – The Language of New Media – MIT Press, 2001.
McKee, Robert – Story: Substance, Structure, Style, and the Principles of
Screenwriting – Harper Collins, 1997.
Mendes, João Maria – Por Quê Tantas Histórias: O Lugar do Ficcional na Aventura
Humana – Minerva Coimbra, 2001.
Miller, Arthur/Toubiana, Serge – Misfits: The Story of a Shot, The – Phaidon – 2000.
Nelmes, Jill (Ed.) – Introduction to Film Studies, An – Routledge, 1995.
Sklar, Robert – Film: an International History of the Medium – Abrams, 1993.
10. GENERAL REMARKS