1 CURRICULAR UNIT FORM (FUC) 3RD SEMESTER
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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 NAME) Paulo Otavio Bezerra Leite AND INDIVIDUAL TEACHING TIME (FILL 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. Managing creativity. The entertainment. 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 Industries. 8. PROOF 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 1 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 & Faber, 1997. 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 2/2
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