Aims

This course will sensitise students to the way that systems of animated images work, by
Questioning the elaboration and development of their historically and theoretically earlier model (images in cinematographic displays).

Main themes

The course traces the major stages in the history of the cinema in its dual expressive and
institutional manifestations.

Content and teaching methods

Cinematographic spectacle is studied on this course as the historically initial model of
moving images and, on that basis, as the locus of the emergence and crystallisation of basic
theoretical issues associated with these images (particularly affecting cutting, montage and rhythm), and with the relations that they form with the various components of sound tracks (through a number of processes, including those of redundancy and counterpoint).
These debates have been restored to the historical dynamic of their continuities and
breaks, through the revelation of their ideological and communicational dimensions, and are therefore able to throw light on how systems of derived or neighbouring animated images work. even beyond the strict confines of the cinema.
The course will rely on a corpus of extracts from films that represent key stages from
the 'animated views' of early forms of representation to 'new frontiers' cinema mixing real views and virtual images.

Other information (prerequisite, evaluation (assessment methods), course materials recommended readings, ...)

An oral examination.
Information pack on currents and works used as points of reference. Analysis of extracts from
films.
Illustrative extension by the COMU Ciné Club.

Other credits in programs