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Film Theory and Analysis

Code: 103047
Credits: 6
2026/2027
Degree programme Type Course
Audiovisual Communication OP 3

Contact lecturer

Name :
Joaquín Puig Gonzalez
Email :
joaquim.puig.gonzalez@uab.cat

Teaching staff

Joaquín Puig Gonzalez

Group languages

You can consult this information at the end of the document.

Prerequisites

Have previously passed the subject “History of cinema” ( 2nd year , 2nd semester, OB)

Objectives

-Familiarize the class with the analysis tools of a film

- Train the people in the class in the use of the aforementioned tools

-Provide people in the class with elements of theoretical reflection on any cinematographic work

-Learning of the people in the class in the meaning of the different film aesthetic models

Learning outcomes

  • CM05 (To assess innovations in the historical investigation models of film, radio and television productions.) To assess innovations in the historical investigation models of film, radio and television productions.
  • KM10 (To cite the main methods for analysing and interpreting film, radio and television productions.) To cite the main methods for analysing and interpreting film, radio and television productions.
  • KM11 (To recognise the main aesthetic movements in film, radio and television productions and their social impact.) To recognise the main aesthetic movements in film, radio and television productions and their social impact.
  • KM12 (To link specific film, radio and television productions to the structural and technological factors that exist in the field of Audiovisual Communication.) To link specific film, radio and television productions to the structural and technological factors that exist in the field of Audiovisual Communication.

Contents

The content of the subject will be sensitive to aspects related to the gender perspective and the use of inclusive language.



Contents of the subject



1. The theory of aesthetic ideas of cinema


2. The cinematic formalism: S. M. Eisenstein and Béla Balàsz


3. The cinematic realism: Siegfried Krackauer, André Bazin and Jean Mitry


4. Criticism as a prescription, film d’auteur and cinephilia


5. The \"cahierist\"criticism and Jean-Luc Godard


6. David Bordwell and the American film ctheory


7. The feminist criticism and the Queer Theory


8. The political criticism and the representation of the minorities in the cinema


9. The documentary film criticism: Bill Nichols and Carl Plantinga


10. Cinema-going and New Cinema History

Learning activities and methodology

Title Hours ECTS Learning outcomes
Seminars 15.5 0.62
Theoretical classes 37.5 1.5
Tutorials 7.5 0.3
Reading, analysis and presentations 82.5 3.3

The subject of "Film Theory and Analysis" is constituted by theoretical classes, seminars and presentations and tutorials.


Programation of the subject:

The detailed calendar with the content of the different sessions will be presented on the day of presentation of the subject. It will also be posted on the Virtual Campus where the class members will be able to find a detailed description of the exercises and practices, the various teaching materials and any information necessary for the proper monitoring of the subject. In the event of a change in the teaching modality for health reasons, the professor will inform of the changes that will occur in the programming of the subject and in the teaching methodologies.


Note: 15 minutes of a class will be reserved within the calendar established by the center or the degree for students to complete the surveys to evaluate the performance of teachers and evaluation of the subject or module

Annotation: within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
Theoretical test 30% 2 0.08 CM05, KM10, KM11, KM12
Independent student work 50% 4 0.16 CM05, KM10, KM11, KM12
Seminars 20% 1 0.04 CM05, KM10, KM11, KM12

IN THIS SUBJECT IT IS NOT PERMITTED THE US OF ARTICIAL INTELLIGENCE (AI), COMPUTER AND MOBILE

In this subject, the use of Artificial Intelligence (AI) technologies is not permitted in all six phases. Any work that includes fragments generated by AI will be considered a lack of academic honesty and may entail a partial or total penalty in the activity grade, or major sanctions in serious cases. It is also not permissible for computer or mobile devices, nor for taking notes, nor for practical purposes or tests. The only occasion in which computers or mobiles can be used will be in the case of presentations.


CONTINUOUS ASSESSMENT:

To pass the subject, you must do:

-A coursework consisting of a video essay on a topic agreed upon with the teacher and done by groups of 5 or 6 people that represents 50% of the final grade. The grade will be the same for all people.

-A written test done in groups of 2 or 3 people or individually. In the case of doing it in a group, the grade will be the same for all people. This test represents 30% of the final grade. The test will be in person and with notes (manuscripts or printed)

-A 10-minute group presentation in a seminar on a topic previously agreed upon with the teacher. This presentation represents 20% of the final grade. In this case, computers and mobile phones may be used

The sum of the work (50%), the written test (30%) and the presentation (20%) will be the final grade obtained. All three things must be approved to pass the subject.

Recovery system:

a) According to regulations, in order to participate in the recovery process, students must have previously been evaluated for at least 2/3 of the total activity of the subject

b) Theory can only be recovered if the student has taken the theoretical test set for continuous assessment and has obtained a grade lower than 4.9. The recovery test will also consist of a written test to evaluate theoretical knowledge with notes (manuscripts or printed)

c) The presentation can only be recovered if the group has previously taken the presentation set for continuous assessment and has obtained a grade lower than 4.9. Recovery will consist of a new 10-minute presentation

d) The coursework cannot be recovered in the event of failure. The reason is that it is a video essay and due to its own characteristics it is practically impossible to do it in the time available for recovery.


SINGLE ASSESSMENT:

On the day set for the single assessment:

-A course work must be presented in the form of a video essay on a topic previously agreed upon with the teacher. It can be done in groups if all its members are enrolled in single evaluation, if not, it must be done individually. The work represents 50% of the final grade.

-A 10-minute group presentation must be made in a seminar on a topic previously agreed upon with the teacher. This presentation represents 20% of the final grade. In this case, computers and mobile phones may be used. Remember that all members of the group must be enrolled in evaluation. If not, it must be done individually

-A written test with notes must be done in groups of 2 or 3 people (all enrolled in single evaluation) or individually. In the case of doing it in a group, the grade will be the same for all people. This test represents 30% of the final grade. The test will be in person and with notes (manuscripts or printed).

The sum of the work (50%), the written test (30%) and the presentation (20%) will be the final grade obtained in the subject. All three must be passed to pass the subject.


Recovery system:

a) According to regulations, in order to participate in the recovery process, students must have previously been evaluated for at least 2/3 of the total activity of the subject

b) Theory can only be recovered if the student has taken the theoretical test set for the single assessment and has obtained a grade lower than 4.9. The recovery test will also consist of a written test to evaluate theoretical knowledge with notes (manuscripts or printed)

c) The presentation can only be recovered if the group or person has previously taken the presentation set for the single assessment and has obtained a grade lower than 4.9. Recovery will consist of a new 10-minute presentation

d) The coursework cannot be recovered if it is failed. The reason is that it is a video essay and due to its own characteristics it is practically impossible to do it in the time available for recovery.


Irregularities:

Any person who commits any irregularity (copying, plagiarism, impersonation, ...) that may lead to a significant variation in the grade of an assessment act will be graded with 0 in that assessment act. In the event that there are several irregularities, the final grade for the subject will be 0.

Not Assessable:

According to point 9 of article 266 of the UAB Academic Regulations, "when it is considered that the student has not been able to provide sufficient evidence of assessment, this subject must be classified as not assessable". Both in the case of having enrolled in this subject in the continuous assessment option and in the case of doing it in the single assessment option, it will be considered “not assessable” if the presentation, the coursework and the written test have not been done.


Bibliography

BIBLIOGRAFIA GENERAL

Agee, James (2001) Escritos sobre cine , Paidós, Barcelona.

Andrew, Dudley (1993) Las principales teorias cinematográficas, Rialp, Madrid

Bazin, André (2008) ¿Qué es el cine? Rialp, Madrid

Bordwell, David (1995) El significado del film, Paidós, Barcelona.

Bordwell, David (1995) El arte cinematográfico: una introducción, Paidós, Barcelona

Bordwell, David, Staiger Janet, Thompson, Kristin (1996) El cine clásico de Hollywood, Barcelona, Ed. Paidós

Burch, Noël (1987) El tragaluz del infinito. Contribución a la genealogía del lenguaje cinematográfico Madrid, Ed. Catedra

Butler, Judith (1990) Gender Trouble: Feminism and The Subversion of Identity, Routledge, Nueva York

Casetti, Francesco i Di Chio, Federico (1998) Cómo analizar un film, Paidós, Barcelona.

Català, Josep Mª: Cerdán, Josetxo y Torreiro, Casimiro. (2001) Imagen, memoria y fascinación: notas sobre el documental en España, Ocho y medio. Madrid.

Colaizzi, Giulia(2007) La pasión del significante: Teoría del género y cultura visual, Biblioteca Nueva, Madrid

De Lauretis, Teresa (1987) Technologies of Gender: Essays On Theory, Film & Fiction, Indiana University Press, Bloomington, 1987

Gubern, Romà (2006) Historia del cine, Lumen, Barcelona

Maltby, Richard; Biltereyst, Daniël; Meers Philippe (2011) Explorations in new cinema history: approaches and case studies. Wiley- Blackwell, Hoboken

Modleski, Tania (2021) Las mujeres que sabían demasiado. Hitchcock y la teoría feminista. El Mono Libre, Madrid

Mulvey, Laura (1989) Visual and other pleasures, Indiana University Press, Bloomington

Nichols, Bill (1997) La representación de la realidad Paidós, Barcelona

Nichols, Bill (2013) Introducción al documental, UNAM, México

Paszkiewicz, Katarzyna (2017) Rehacer los géneros.Mujeres cineastas dentro y fuera de Hollywood. Icaria, Barcelona

Sánchez Noriega, José Luis (2018) Historia del cine. Teorías, estéticas, géneros, Alianza, Madrid

BIBLIOGRAFIA COMPLEMENTARIA

Aristarco, Guido (1996) Los gritos y los susurros: diez lecturas críticas de películas, Universidad de Valladolid, Valladolid.

Aumont, Jacques y Marie, Michel (1990) Análisis del film, Paidós, Barcelona.

Bálazs , Béla (2011) Early Film Theory, Berghahn Books, New York

Català, Josep. Mª (2009) Pasión y conocimiento: el nuevo realismo melodramático, Cátedra, Madrid

Cerdán, Josetxo, Torreiro Casimiro Torreiro, (eds) (2005) Documental y vanguardia, Cátedra, Madrid

Ebert , Roger (2003) Las grandes películas, Ma Non Troppo, Barcelona,

Ebert , Roger (2006) Las grandes películas 2, Ma Non Troppo, Barcelona

Ebert , Roger (2008) Las peores películas de la historia, Ma Non Troppo, Barcelona

Eisenstein, Serguei M. (2001) Hacia una teoría del montaje, Paidós, Barcelona

Eisenstein , Serguei M. (2003) La forma del cine, Editorial Siglo XXI, México

Eisenstein, Serguei M. (1999) El Sentido del cine, Editorial Siglo XXI, Madrid

Eisenstein, Serguei M. (1990) Reflexiones de un cineasta, Lumen, Barcelona

Farber; Many (1974) Arte termita contra Arte elefante blanco y otros escritos escritos sobre cine, Anagrama, Barcelona.

Guarner, José Luis ( 1994) Autoretrato del cronista , Anagrama, Barcelona.

Kael, Pauline (1974) Kiss Kiss Bang Bang: el tiempo del cine, Marymar, Buenos Aires

Kracauer, Siegfried (1995) De Caligari a Hitler: Una historia psicológica del cine alemán. Barcelona, Paidós

Mitry, Jean (1967)Historie du cinema, Editions Universitaries, Paris

Metz, Christian (2002) Ensayos sobre el significado del cine Paidós, Barcelona

Molina Foix, Vicente (1993) El cine estilográfico, Anagrama, Barcelona.

Nichols, Bill (1997) La representación de la realidad Barcelona, Paidós

Nicholls, Bill (2013) Introducción al documental, UNAM, México

Talens , Jenaro i Zunzunegi, Santos ( Eds.) ( 2007): Contracampo: ensayos sobre teoría e historia del cine, Càtedra, Madrid.



Software

Students don’t need any specific software for this subject

Course groups and languages

The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE

Type of teaching Group Language Semester Shift
(TE) Theory 4 Catalan second semester morning-mixed
(SEM) Seminars 41 Catalan second semester morning-mixed