January 2010

Chair Making I - FBA - UNLP - 2009 program year film

Diego did not know sea. The father, James Kovadloff led him to discover.
traveled south.
She is the sea, was beyond the high dunes, waiting.
When the boy and his father finally reached those heights of sand, after much walking, the ocean exploded before their eyes. And so immense was the sea and its sparkle, that the child was silent beauty.
And when he finally managed to speak, trembling, stuttering, he asked his father:
- Help me look!

The Chinolope selling newspapers and shining shoes in Havana. To leave poor, he went to New York. There, someone gave him an old camera. The Chinolope never had a camera in his hands, but he said it was easy:
- You look around here and squeeze there.
and took to the streets. And before long he heard gunshots and went into a barbershop and raised the camera and looked out here and pulled there.
In the barbershop had shot the gangster Joe Anastasia, who was shaving, and that was the first picture Chinolope professional life.
She was paid a fortune. That picture was a feat. The Chinolope had been photographed to death. Death was there: not the dead, or the matador. Death was in the barber's face he saw.

Fragments of The Book of Embraces by Eduardo Galeano.

NATIONAL UNIVERSITY OF LA PLATA

ARTS FACULTY OF FINE ARTS DEPARTMENT OF AUDIOVISUAL

CHAIR FOR YEAR 2009 PERFORMANCE I

RACES:

Media Arts Degree with a major in Performing Arts Degree
audiovisual orientation Cinematography
Media Arts Degree with a major in Screenplay
Media Arts Degree with specialization in Theory and Criticism

SCHEME
The course is annual, covering the first year of the course of Audiovisual Arts. With a theoretical and practical, direct marketing system, and a charge time of 4 hours per week. TEACHERS

Ordinary Professor: Fabio Benavides
DC Deputy: Ms. Andrea Santoro JTP: Oh
CA Mary Marino. Diploma: Hernando Barcelona, \u200b\u200bCA Thaddeus Smith, CA Maria Perez Escala, CA Andres Vazquez, CA Nadia Lozano.
Ay. Student: Marcelo Obregon, Juan Jose Zapico, Leandro Rodríguez, Natalia Dagatti, Odoardo Lucia, Antonio Zucherino, Luis Marecos. Ascribed
: Gaston Zalba, Igor Galuk, Pamela Venetian Colo, Manque Banking, Joaquin Polo, Joao Clemente, Gisela Frias, Valeria Birrittella, Soledad Dinoto.

1. REFERENCE FRAMEWORK AND RATIONALE
2. OBJECTIVES - SPECIFIC OBJECTIVES
3. CONTENTS
4. Thematic Units - Bibliography and Filmography.
5. WORKING METHODS
6. EVALUATION GUIDELINES
7. COURSES AND ADOPTION SCHEME
8. PRACTICAL WORK: Exercise performed
9. GENERAL BIBLIOGRAPHY

1. REFERENCE FRAMEWORK AND RATIONALE

The course curriculum is inserted in the first year of the race and is part of a training class global e introductoria. La materia tiene entonces un carácter formativo integral sobre los aspectos más importantes de la Teoría del Lenguaje y la Realización Audiovisual.

Para contextualizar nuestra concepción pedagógica señalaremos las proposiciones sobre las que se fundan los enfoques y perspectivas metodológicas de esta asignatura, propuestas en el plan de estudios de la carrera: "…formar profesionales universitarios dotados de una visión crítica y analítica, habilitados para ejercer actividades desde un espacio nacional, con proyección regional, orientadas a la realización con una formación que integra la reflexión y la investigación . (...) Research Comprehensive languages, art materials and procedures as well as models and strategies of production, distribution and consumption. (...) Promoting a look creative, critical and exploratory about the languages \u200b\u200band audiovisual devices, so as to enhance the management and promotion of audiovisual quality achievements.

2. OBJECTIVES

introduce students in major performative and theoretical perspectives, major problematic nodes of the field of visual arts, fostering a critical attitude towards them.
Understanding the basic elements of language audiovisual, in theoretical and practical, and its application in film, television and video, taking into account existing processes that determine the fields and open new communication scenarios with the advent of digital technologies.
Establish an approach to the visual arts and understanding of its scope in shaping contemporary culture.
Inquire about the complexity of visual languages, film, video, television, new media. Recognition of their singularities. Enter
aesthetic categories of language and filmmaking. Understand the characteristics
the organization of space representation and audiovisual device.
Introduce the task done by developing a short film. Explore
Theoretical and performative perspectives on the concept of a film with a focus on fiction.

SPECIFIC OBJECTIVES

recognize different morphological parameters involved in a visual text. Analyze and interpret
different ways of putting into visual form based on unique uses of language skills and resources. Distinguish
aspects to consider in developing a proposal and their respective aesthetics fitness, with a view to realization. Work
the idea of \u200b\u200btheory or reflection on the visual language from its understanding as a "toolbox."
know the various phases of the filmmaking process, from research to post production and the use of the media. Experience
basic uses of audiovisual language.
Building trust in specific resources field working on the assessment of visual and sound dimensions and their creative potential.
Participate in the implementation and management of audiovisual productions, using traditional and other resources that tend to innovate themselves.
understand the importance of group work and role of each of the members of the filmmaking team. Facilitate
critical appropriation of theoretical and performative that the completed work.
promote the production of knowledge in the form of audiovisual works and writings.

3. CONTENTS

main pedagogical axes are arranged in a dialogue relations:

formal aspects -stylistic, narrative.
aspects related to modes of production
(pre / shoot / post / distribution / exhibition).
aspects related to technological development and languages.
related Aspects Project communication.

Under these aspects are considered: Theories

film, TV and video.
Building
how film production
sense
writing problems
audiovisual creative process (in relation to technologies, languages, modes of production, aesthetic)
audiovisual art and technology
audiovisual art and languages \u200b\u200b
art audiovisual and communication

points and previous issues will be developed based on the parameters that are organized by thematic units.

4. THEMATIC UNITS

UNIT I - THE IMAGE Image and Reality: . Visual image. Sound image.; Framing. The plane. The construction of filmic space and time.
UNIT II - film space.: The three spaces of cinema. Field and off the field. Dimension; visual and sonic dimension of its conformation.; The invention of the cut. The camera becomes independent of the scene.; film as a material space, dimension and expressively significant.
UNIT III - TIME film.: rhythm. Order, duration, frequency. Dimension; visual and sonic dimension of its conformation.; film as a material time, significant size and form of expression.
UNIT IV - THE ASSEMBLY.: Plano, scene, sequence, sequence shot.; types of plans. Succession plans. Features and installation types.; The articulation of space-time. Continuity. Alternatives to continuous assembly.; The various stages of assembly: in the script, filming, in post production. Theories; assembly. Griffith and Eisenstein. Transparency, "Mounting Forbidden." Fragment and conflict. Audio visual dimension and size of the assembly. The assembly in the digital age.
UNIT V - CONSTRUCTION AND PLANNING OF SIGNIFICANT: Fitness and aesthetic proposal.; The cinematic staging. The concept of staging and the concept of fitness. Staging, implementation plan, as in series.; POV. Planning. Narrative structures. Objectives, movements and camera positions. Depth of field. Sound level.; cinema of the early and contemporary visual fields. Stands (photochemical, electronic, digital), technologies and languages. Film, TV, video, installations, multimedia. Hybridizations. Communication device. The organization of space representation and audiovisual device.
UNIT VI - THE NARRATIVE.: The film narrative. Narrative strategies of fiction, nonfiction or documentary and experimental.; formats, styles. New Technologies.
UNIT VII - THE MAKING.: From idea to work. The steps of implementation. The script performative (technical) as an after the shooting. The creative process.; dialectic between searching and choosing. Decision making. Styles and forms of production. Group work. The performance in the digital age.
UNIT VIII - IMAGE PLASTIC: compositional schemes, visual forces, axes, perspective, depth of field.; shape. Visual weight. Size, location, distance, direction. Space.; balance. Movement. Dynamics.

UNIT I

Bibliography and Filmography
Bazin, A. "Ontology of the Photographic Image" in What is Cinema? Rialp, Madrid, 1966.

Aumont, J. et al, "The Film as a visual and Sonora," in Film Aesthetics, Polity Press, Barcelona, \u200b\u200b1985.

Mitry, J. "Free Camera and depth of field" in aesthetics and psychology of cinema. Siglo XXI, Mexico, 1984, Vol 2.

Comolli, Jean-Louis. "The utopian realism" in Shooting to see, Ed Simurg / Chair The Ferla (UBA), Buenos Aires, 2002.

complete projection or fragments of:: The Headless Woman (Lucrecia Martel, Arg 2008); Apocalypse Now (Coppola-USA-1979). Soil; Argentino, (Pedro Diez - Arg - 2001, video installation); Death live (Tavernier, B. - 1979); Videominutos, short and theses races Broadcasting and Audiovisual Arts. FBA

UNIT II

Malraux, A. "Outline of Psychology Cinematograph" in South Rev. No. 137-1946.

Burch, Noël, "Basic Elements" Praxis in movies. Fundamentals. Madrid, 1970.

Rohmer, Eric L'Organisation de l'espace dans le Faust de Murnau, Ed UGE, col. 10/18, Paris, 1977.

complete projection or fragments of: National Film: the first time. (Eg the May revolution.); international Film
early; Bleu (K. Kieslowski, France, 1993); by Northwest (A. Hitchcock, USA, 1959) Journey to the Pole; (G. Méliès-France-1908); Citizen Kane (O. Welles-USA-1941); Touch of Evil (O . Welles-USA-1957); Mr. Arkadin (O. Welles, Spain, Switzerland-1955) Blow up; (M. Antonioni, Italy, Eng-1966); Lost Highway (David Lynch, USA - 1996); Soy Cuba (Ya Kuba Mikhail Kalatozov, 1964); Thesis (Amenábar, Spain, 1996); Videominutos, short and theses races Broadcasting and Audiovisual Arts. FBA

UNIT III

Tarkovsky, Andrei, "On the pace, time and assembly", "Sculpting in Time", "Idea and script," "The configuration of the cinematic image" in Sculpting in Time . Rialp, Madrid, 1991.

Aumont J. The theories of the filmmakers. (Fragments) Polity Press, Barcelona, \u200b\u200b2004.

complete projection or fragments of:: Stalker (Tarkovsky - USSR-1979); Mother and Son (Alexander Sokurov, Russia-1997; Gerry (Gus Van Sant, USA, 2002).; La Cienaga (Lucrecia Martel, Arg, 2000); Freedom (Lisandro Alonso, Arg, 2001); Dead (L. Alonso, Arg, 2004); The Hole (Tsai Ming-Liang, Taiwan , 1998) Lumière et; . Cie (number of Directors - 1995) The passing; (Bill Viola, USA, 1991); Swings (A. Santoro - C. Merdeka, Arg 2005); of Werckmeister Harmonies (Werckmeister harmóniák, Béla Tarr, Hungary, 2000); Fabrika (Factory, Loznitsa Sergei, Russia, 2004); Platform (Polustanok, Loznitsa Sergei, Russia, 2000); Passengers (M. Antonioni, 1974).; Videominutos, short and theses races Broadcasting and Audiovisual Arts. FBA

UNIT IV

Bordwell, D. and Thompson, K., "The assembly" in the cinema. Polity Press, Barcelona, \u200b\u200b1995.

Sánchez Biosca, Vicente. Film editing. (Pieces) Polity Press, Barcelona, \u200b\u200b1997.

Chion, M. Audio vision. (Fragments) Polity Press, Barcelona, \u200b\u200b1993.

complete projection or fragments of:: The Others (Alejandro Amenábar, 2001); Strange (Santiago Loza, Arg, 2003); The Taste of Tea (Katsuhito Ishii, 2004); The Birds (The Birds, Alfred Hitchcock, USA, 1963); Historie (s) du cinéma. (Jean-Luc Godard, France, 1988-1998); Beshkempir (adopted son) (Aktan Abdykalykov, Kyrgyzstan, 1998); Kill Bill 1 and 2 (Tarantino-USA-2003/04); The Rumble Fish (Coppola-USA-1994); October (Eisenstein, USSR, 1927); La Jetée (Chris Marker 1963); Bagdad Café (P. Adlon, USA, Germany, 1992); The Man with the Movie Camera (Dziga Vertov -1929); Two Men and a Wardrobe (Polanski, Poland, 1959); The Godfather I, II and III (Coppola-USA-1972, 1974, 1990); The mirror ( Zerkalo Andrei Tarkovsky, USSR, 1975); Sunrise (Sunrise: A Song of Two Humans, FW Murnau, Germany, 1927); A condemned prisoner escapes (FCIA-Bresson, 1956) Mother; Dao, (V. Monniquendam -1997); hand into the trap (Torre Nilsson, Arg, 1960) Examples; television. Series. (Eg lost everything (2002) by Caetano, A., Squatters (2000) of Stagnaro, B. 24 pm (2005), Fox, etc); Videominutos, short and theses races Broadcasting and Audiovisual Arts. FBA

UNITS V and VI

Mitry, Jean. "On no sign language," in Urrutia (ed.), Contributions to semiotic analysis of film, F. Torres, Valencia, 1976, 263-290.

Benavidez, F. The fitness and aesthetic proposal (morphological grid, Chair Making and Language Audiovisual-2003)

Bazin, A. "Evolution of Film Language" in What is Cinema? Rialp, Madrid, 1966.

complete projection or fragments of:: Paranoid Park (Gus Van Sant, USA, 2007); The Hour of the Furnaces (Solanas F., Arg, 1968); Stranger than paradise ( Jim Jarmusch, USA, 1984); Contempt (Le Mépris, Jean-Luc Godard, 1963); Elephant (Gus Van Sant-USA-2003); A Red Bear (A. Caetano, Arg.2002); A humble life (Sokurov, 1997); Breathless (Jean-Luc Godard, 1959); Citizen Kane (Welles-USA-1941); Master of Music (Corbiau - FCIA-1988); Joan of Arc (Dreyer CT-1929-Denmark); 2001 Space Odyssey (Kubrick, USA S. -1969); The Perfect Murderer (JL Besson-USA-1995); The Godfather I, II and III (Coppola-USA-1972, 1974, 1990); Battleship Potemkin (Eisenstein, USSR, 1925); Taxi Driver (Scorsese-USA-1975); Blade Runner (R. Scott-Eng-1996); Stalker (Tarkovsky - USSR-1979); Areas (H. Khourian - Arg-2000); hand into the trap (Torre Nilsson-Arg-1971); Dependent (L. Favio-Arg-1967); This is the romance of Aniceto and Francisca, how it was cut short, he began sadness ... and a few other things (L. Favio-Arg-1965); Bolivia (A. Caetano, Arg, 2001); Tokyo-ga (Wim Wenders.1985); And what time is it there ? (Tsai Ming-Liang, Taiwan, 2002) The passing; (Bill Viola, USA, 1991); Argentine soil, (Pedro Diez - Arg - 2001, video installation); Examples television. Series. (Eg lost everything (2002) by Caetano, A., Squatters (2000) of Stagnaro B. 24 hours (2005), Fox, etc); Videominutos, short and theses races Broadcasting and Audiovisual Arts. FBA

UNIT VII

Tarkovsky, Andrei. Sculpting in Time. (Fragments) Rialp, Madrid, 1991.

Truffaut, F., film by Hitchcock (fragments) Buenos Aires, Alianza, 1992.

It includes the texts of previous units.

complete projection or fragments of:: Sátántangó (Béla Tarr, Hungary, 1994); Pulp Fiction (Tarantino-USA-1994); Tire dié (Fernando Birri, Arg, 1960); Live your life (Vivre sa vie, Jean-Luc Godard, France, 1962); Man of Aran (Flaherty, 1934); Tales of Tokyo (Ozu, Japan, 1954).; Reservoir Dogs (Tarantino-USA-1992); Nostalgia (Tarkovsky, USSR-1983); Lessons of darkness (Herzog-Germany-1995); Looking for Richard (Al Pacino-USA-1996); Holding (Winterberg-Denmark-1998); The Taste of Cherry (Kiarostami, Iran-1998); The Way of the Samurai (Jarmusch-USA-1999); Vidas Secas (Pereira Dos Santos-Brasil-1963); Los muertos (L. Alonso, Arg, 2004); La niña santa (Lucrecia Martel, Arg, 2003); El camino de los sueños (D. Lynch-USA-2001); Medea (Lars Von Trier, Dinamarca,1984); Dogville (Lars Von Trier, Dinamarca, 2003); Tape (R. Linklater, USA, 2001); Videominutos, cortos y tesis de las carreras de Comunicación audiovisual y Artes Audiovisuales. FBA

UNIDAD VIII

Arnheim, R., Arte y Percepción Visual. (fragmentos) Madrid, Alianza, 1983.

Aumont, J. y Marie, M. Análisis del film. (fragmentos) Paidós, Barcelona, 1993. chap. 2.1

complete projection or fragments of:: Fata Morgana (Werner Herzog, 1971); Sin City (F. Miller-R. Rodriguez, USA, 2005); The Tempest (Greenaway, England -1992); The Belly of an Architect (Greenaway, England, 1987); Dreams (Kurosawa-Japan-1990); Mishima (P. Schrader, USA, 1985); Henry V (K. Branagh, England , 1989); Hiroshima mon amour (A. Resnais, France, 1959); Videominutos, short thesis communication studies Audiovisual and Media Arts. FBA

NOTE:
Bibliography in detail by unit include basic texts, which may be crossed and extended with other texts in the general literature.
Filmography: all films cited for the various units are considered a general background and contextual films for the student.
The above lists may be expanded or modified according to the activities carried out during the course of the subject.

5. TYPE OF WORK I

Making introductory course which is a form of theoretical and practical work is where it becomes essential to work the idea of \u200b\u200btheory as a tool, seeing it as a practice. Then we distinguish a theoretical practice , and a performative practice .

The type of work is structured on the basis of three key areas:

theoretically practice the theoretical foundations of language and conduct professional practice in the audiovisual area
Argentine-performative practice fundamentals (practical) the implementation, different modes of exercise in fitness.
Cycle projections-the basics construction space of social and cultural imaginary. Film and media arts in its various historical manifestations (made in the field of theoretical practice).

The practice integrates the three levels of achievement and reflection on the process to strengthen individual and group development training of the subjects of the educational process. Contents worked in both articulate and complement other forming an inclusive and relational process itself. The

theoretical practices working with the students the keys, maps that allow them to go through the written and audiovisual texts proposed by the Chair for recognize different morphological parameters of visual language, different ways of putting into film form and creative fields to explore, discover and expand. Which analyze the works to promote critical reflection on the ways of understanding the performance, technical procedures and expressive language resources. A space for discussion and questioning in the audiovisual field in order to enrich the performative production processes of the students.

In practical performative goal is to work in depth the implementation of technical tools and resources put into play and language development keys and content addressed in the theoretical practices. A series of exercises can acquire skills to perform the work structure of the completed development.

6. EVALUATION GUIDELINES

The evaluation will focus on the whole teaching-learning process and not just on results.

Assessment Guidelines for work carried out (final video for each of the two instances of delivery-August and December)
Overview. Items to consider in the Group and Individual rating:

Video -> END VIDEO
Process
educational means -> Track teaching the process performed (idea, project folder performative, confrontation with the judging table)
Critical Intervention -> Group Analysis of performative process and method of manufacture audiovisual, following the particular parameters his film Fitness (during the evaluation table).
Concept -> Meaning of each student and group (general concept, intervention during the course studied, implementation of work practices, assistance).

The Final Note Audiovisual Work (Video Final evaluated in each of its two instances of delivery-August and December) is obtained from the average of the four above items: Video

Note Note Note
educational process for critical intervention

Concept Note
The Note Determination of the Cursa is obtained by averaging:

Endnote Labour Audiovisual (Video Final - 1st Delivery - Table of Assessment August)
Endnote Labour Audiovisual (Video Final - 2nd delivery - Table of Assessment December)
Note / written midterms
Concept Note (concept Overall, intervention during the course studied, compliance with work practices, assistance)

7. COURSES AND ADOPTION SCHEME

Matter is the annual course and in the form of direct marketing without final exam, with ongoing evaluation of student performance throughout the school year through practical work and exams.
required to pass:

The approval of all (100%) of practical work and partial evaluations written (1 or 2) taking place in the year (Note minimum passing: six). Assistance
eighty percent (80%) Practice both theoretical and practice performs.
The adoption of two instances performative group on the same database project (Final Video, short film of 4 to 6 minutes), which will be displayed and evaluated in general conversation and public (minimum passing Note: six).
All work could be recovered in case of disapproval.

8. PRACTICAL WORK: Exercise performed

The approval system of the subject, direct promotion, raises a number of skills (performative and theoretical reflection on language.)
experiments carried around which structures the minimum contents revolve around the performance of a group with two points short delivery and evaluation (August and December), two instances performed on a single database project (Final Video, Short of 4-6 minutes term), which is reformulated in the second period.

practical work undertaken to structure the first half of the year are group and are developed as follows: TP

1: Time period on film - visual dimension of its conformation.
TP 2: Time period for film - Dimension sound conformation. TP
3: Exercise on film-dimension space and audible conformation.
TP 4: Style and planning exercise, "Notes of style for a video project." 1, Style Studio. Exercise draft, proximity to the completion of final video. Nearly seamless work

1 Semester:
Video Final - 1st delivery-evaluation table in August. Corollary of the educational process of the first period where the first cases to integrate language learning and filmmaking. Where they cross the conceptualizations and theoretical and performative practices.

The second period the course is structured according to a research film-a theoretical and performative- filmmaker faces each group to perform the reformulation of the project based on the study of specific problems that arise from it. The teaching staff offers each group a topic of research with specific bibliography and filmography, linked to visual exploration approaches and addressed in the project by students. The task is to address specific issues of language and audiovisual production, investigate, confront, develop and deepen conceptual and filmic depending on the creative process-reflective-productive. Whose results are embodied in the redesign of work and in their final exhibition in December. Nearly seamless work

2 Semester: Research
Film / Video Final - 2nd delivery - evaluation Mesa in December. Corollary of the educational process of the first and second period where they are integrated processes of language learning and filmmaking. Where they cross the conceptualizations and theoretical and performative practices addressed along that submitted.

NOTES:
- The different work practices were developed from specific guidelines to follow for implementation.
- In the second period, general bibliography and filmography of matter are extended with the addition of films and suggested texts to each group according to their research topic.

9. GENERAL BIBLIOGRAPHY

Magazine: ARKADIN. Studies Film and Media Arts, refereed academic journal of the Department of Audiovisual Communication FBA-UNLP. Year 1 - No. 1. Fiction and reality-March 2005.

Arnheim, R. Art and Visual Perception. Madrid, Alianza, 1983.
Aumont, J. and Marie, M. Analysis of the film. Polity Press, Barcelona, \u200b\u200b1993.
Aumont, J. La imagen. Paidós, Barcelona, 1993.
Aumont, J. Las teorías de los cineastas. Paidós, Barcelona, 2004.
Aumont, J.; Bergala, A.; Marie, M. y Vernet, M. Estética del Cine. Paidós, Barcelona, 1985.
Aumont, J., El ojo interminable, Barcelona, Paidós, 1997.
Barthes, Roland. La cámara lúcida. Paidós Comunicación, Barcelona, 1990.
Bazin, André. Qué es el cine?, Rialp, Madrid, 1966.
Bazin, A, Jean Renoir. Artiach, Madrid, 1973.
Bazin, A. y Labarthe, André. Orson Welles. F. Torres, Valencia, 1970.
Benavídez, Fabio. “El efecto Sokurov o la pregnancia de lo inmóvil”.- In ARKADIN Magazine. Studies Film and Media Arts - Department of Communication Studies FBA-UNLP. Year 1 - No. 1. March 2005.
Benavidez, F. The fitness and aesthetic proposal (morphological grid, Department of Performing and Audiovisual-Speech 2002/03)
Benavidez, F. and Santoro, Andrea. "Traces of Picasso in the frame of Hitchcock." In Russo, E. (Comp.) Questioning on Hitchcock-Bs Simurg Ed. 2001.
Badiou, Alain. "Film as a philosophical experiment" in Yoel, Gerardo (ed.) Thinking the film 1. Image, ethics and philosophy. Buenos Aires, Manantial, 2004.
Bettetini, G. Significant production and staging. G. Gili, Barcelona, \u200b\u200b1977.
Bettetini, G. Audiovisual conversation. Problems of enunciation film and television. Cátedra, Madrid, 1989.
Bonitzer, P. Decadrages. Editions de l'Etoile, Paris, 1984.
Bordwell, D. The narrative in fiction film. Polity Press, Barcelona, \u200b\u200b1996.
Bordwell, D. and Thompson, K. The art of cinema. Polity Press, Barcelona, \u200b\u200b1995.
Breschand, J. The documentary. Polity Press, Barcelona, \u200b\u200b2004.
Bresson, R. Notes on the cinematographer. Era, Mexico, 1974.
Burch, Noël. Praxis film. Fundamentals. Madrid, 1970.
Burch, Noël. The skylight Infinity. Chair Ed. Madrid, 1991.
Casetti, Francesco. Theories of cinema. Chair Ed. Madrid, 1993.
Chion, Michel. Audio vision. Polity Press, Barcelona, \u200b\u200b1993.
Comolli, Jean-Louis. Film to see, Ed Simurg / Chair La Ferla (UBA), Buenos Aires, 2002.
Deleuze, G. The Movement-Image. Polity Press, Barcelona, \u200b\u200b1984.
Deleuze, G. The time-image. Polity Press, Barcelona, \u200b\u200b1987.
Eisenstein, Sergei. Sense of Cinema. Twenty-First Century. Mexico, 1974.
Eisenstein, Sergei. The form in the movies. Twenty-First Century. Mexico, 1976.
Eisenstein, Sergei. Towards a theory of montage. Vol.1 and 2. Polity Press, Barcelona, \u200b\u200b2001.
Gaudreault, A. and Jost, F. The narrative film. Polity Press, Barcelona, \u200b\u200b1995.
García Hernández, Iliana. Inhabited virtual worlds. Interactive electronic spaces. Editor Center Javeriana, Bogotá, 2002
La Ferla, Jorge. Comp. Audiovisual Media. Ontology, history and practice (film, TV, video, installations, multimedia). Editorial University of Buenos Aires, Buenos Aires, 1999.
La Ferla, J. Comp. The video revolution. Of. Publications of the CBC-UBA, Buenos Aires, 1996.
Machado, Arlindo. The media landscape. Libros del Rojas-UBA, Buenos Aires, 2000.
Manovich, Lev. The language of new media, Polity Press, Bs As, 2006 .-
Mitry, Jean. "On no sign language, "in Urrutia (ed.), Contributions to semiotic analysis of film, F. Torres, Valencia, 1976, 263-290.
Mitry, J. Aesthetics and psychology of cinema. Vol 1 and 2. Siglo XXI, Mexico, 1984.
Rohmer, Eric. L'Organisation de l'espace dans le Faust de Murnau, Ed CGU col.10/18, Paris, 1977.
Nichols, Bill. The representation of reality. Polity Press, Barcelona 1997.
Russo, Eduardo. Dictionary of Film. Polity Press. Buenos Aires 1998
Russo, Eduardo (Comp.) Questioning on Hitchcock-Bs Simurg Ed. 2001.
Sánchez, R. Film editing, art of movement, here Big Ed, 1991.
Sánchez Biosca, Vicente. Film editing. Polity Press, Barcelona, \u200b\u200b1997.
Tarkovsky, Andrei. Sculpting in Time. Rialp, Madrid, 1991.
Tirard, L. Lessons from the movies. Polity Press, Barcelona, \u200b\u200b2003.
Truffaut, F., film by Hitchcock, Buenos Aires, Alianza, 1992.
Truffaut, F., The pleasure of looking. Polity Press, Barcelona, \u200b\u200b1999.
Veron, Eliseo. The social semiosis. Gedisa, Buenos Aires, 1987.
Vertov, Dziga. Cinema eye. Fundamentals. Madrid, 1974.
Vila, S. The scenery. Film and architecture. Cátedra, Madrid 1997.
Villain, Dominique. The film frame. Polity Press, Barcelona, \u200b\u200b1997.
Wenders, W., The act of seeing. Polity Press, Barcelona, \u200b\u200b2005.
Yoel, G., (ed.) Thinking the film 1. Image, ethics and philosophy. Buenos Aires, Manantial, 2004.
Yoel, G., (ed.) Thinking the film 2. Body (s), timing and new technologies. Buenos Aires, Manantial, 2004.
Zunzunegui, Santos. The close look. Polity Press, Barcelona, \u200b\u200b1996.
Zunzunegui, Santos. Landscapes of form. Cátedra, Madrid, 1994.
Zunzunegui, Santos. Think the picture. Chair / University of the Basque Country, Madrid, 1998.

Students have the website and blog of the chair as a means of contact with the literature, publications, films, series and own the information furnished. http://realizacion2009.blogspot.com/

Realización I - FBA.UNLP (Course 2009)

Saturday, January 30, 2010

Maintainance After Brazilian Wax

Tuesday, January 12, 2010

Portuguese Sausage Chorizo