Docentes

Critério de Avaliação

Cada aluno deve produzir um artigo ou peça de crítica, entre 3000 e 5000 palavras, podendo ser resultado de trabalho em co-autoria.

Bibliografia

ANDREW, J. Dudley. The Major Film Theories. New York: Oxford U. Press, 1976. BYWATER, Tim; SOBCHACK, Thomas. Introduction to Film Criticism. New York: Longman, 1989. COSTELLO, John. Science Fiction Films. New York: Pocket Essentials, 2004. HARDY, Phil (ed.). The Overlook Film Encyclopedia: Science Fiction. New York: Overlook, 2005. HENDERSON, C. J. The Encyclopedia of Science Fiction Movies: From 1897 to the Present. New York: Facts on File, 2001. MAST, Gerald; COHEN, Marshall; BRAUDY, Leo Braudy (eds.). Film Theory and Criticism, 4th edition. New York: Oxford U. Press, 1992. NICHOLLS, Peter; CLUTE, John; LANGFORD, Barry (eds.). The Encyclopedia of Science Fiction. 3d ed. 2011. Available at http://www.sf-encyclopedia.com/ RICKMAN, Gregg. The Science Fiction Film Reader. New York: Limelight Editions, 2004. MAZIERSKA, Ewa; SUPPIA, Alfredo (eds.). Red Alert: Marxist Approaches to Science Fiction Cinema. Detroit: Wayne State Univ. Press, 2016. PAZ, Mariano. “South of the Future: An Overview of Latin American Science Fiction Cinema”. Science Fiction Film and Television 1.1 (2008): 81–103. TELOTTE, J. P. Science Fiction Film. Cambridge: Cambridge Univ. Press, 2001.

Conteúdo

Science fiction has been a cinematic genre for as long as there has been cinema. Even before Georges Melies’s visionary film Trip to the Moon (Le Voyage dans la Lune, 1902), short films with a focus on scientific and technological wonders, as well as speculations on the future of mankind, multiplied in Europe and the United States. Few cinematic genres reflect the sensibility of their age so thoroughly - if often unconsciously- or provide so many opportunities for filmmakers to simultaneously address social issues and expand the cinematic lexicon with new technologies. Many notable filmmakers have done some of their most perceptive and influential work in the science fiction film domain (e.g. Terry Gilliam, Ridley Scott, Steven Spielberg, David Cronenberg, James Cameron, John Carpenter and Paul Verhoeven, amongst many others), and virtually all film auteurs have ventured into science fiction cinema at a certain point in their careers (e.g. Fritz Lang, Jean-Luc Godard, Alain Resnais, François Truffaut, Alexander Kluge, Andrei Tarkovsky, Chris Marker and many others). This course aims to introduce a brief overview of science fiction film, for the sake of contextualization (and taking into account that all historiographies might be appropriately scrutinized), with a focus on the more contemporary science fiction film production – particularly on a cluster of low-budget, independent films labeled as “Lo-Fi Sci-Fi”. What is Lo-Fi Sci-Fi? A very short answer might be: “Movies that have more speculation than spectacular effects. More focused on big ideas than big budgets” (http://lofiscifi.com/). This definition, however, will also be discussed in the scope of this course. Therefore, the overall objective of this course is to introduce the students to the world of science fiction film criticism, providing the proper background knowledge and elements for “the art” of writing about science fiction films.

Metodologia

Aulas expositivas, discussões de textos e debates anteriormente ou seguidamente à exibição de filmes ou trechos de filmes.

Observação