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COURSE ON FILM POLITICAL ANALYSIS

RATIONALE AND OBJECTIVES

When producing political imaginary, the film shares the spotlight with other sources of visual culture such as television or in the last fifteen years, Internet . However, the aesthetics of film language itself reaches levels much higher epistemic value, in some cases allowing the viewer an even more intense way than television, set their views on critical policy issues.

In cinema, as espac specific cultural io is the scene of representation of the dynamics of power, imaginaries, interpret the conflicts and form consensus. The fictionalization and representation that the film has made national histories of the center-periphery relations or what it means to be female, have a fundamental ideological weight when it comes to understanding the political behavior of different social groups.

This course not only explain the film as a resource to think and reflect theoretically Social Sciences History and but also as direct political production area through cultural governance public, private or resistance.

The course will provide students with theoretical tools management, research methodology and film, to discuss political film, so as to be able to unravel how the antagonistic relations are represented power specific to the policy.

Through detailed analysis of films in the program (and some of their literary reference), relying on literature and individual and group work, study, counter hegemonic discourses with particular attention to the historical memory of colonialism and representation of women.

PROGRAM

ITEM 1. INTRODUCTION TO POLITICAL ANALYSIS OF THE CINEMA (on film with Machiavelli and Gramsci). Politics and culture. The impact of cultural and postcolonial studies. Hegemony and power cinema. Cultural governance. Policy as antagonistic power relations. Sovereignty and violence.

ITEM 2. AESTHETIC-KEY TECHNICAL AND AESTHETIC-POLICIES TO DISCUSS POLITICAL CINEMA (on film with Walter Benjamin). Flat rates, rules of framing and camera movement. The political use of chopped and contrapicado. Narrative structures. Individual or collective protagonist. Narrative realism against vanguard (Costa-Gavras versus Godard). The debate over thriller political. Film to think. Brecht and alienation. Eisenstein and Kulechov effect.

ITEM 3. FILM AND REPRESENTATION OF NATIONAL HISTORY (in the cinema with Robespierre). Film and memory. Analysis of "Katyn" by Andrzej Wajda. The recent film English Civil War. Analysis of "Land and Freedom" by Ken Loach.

ITEM 4. FILM AND REPRESENTATION COLONIALISM (in the cinema with Frantz Fanon). Violence policy and representation of the Other. Analysis of "Apocalypse Now Redux" by Francis Ford Coppola and " The Battle of Algiers" by Gillo Pontecorvo.

ITEM 5. FILM AND REPRESENTATION FEMININE (in film with Judith Butler and Beatriz Preciado). Subaltern and counter of the femme fatale. Analysis of "Lolita" by Stanley Kubrick and "Baise-moi" by Virginie Despentes.

The course will be taught by Paul Churches Turrión

resume: Turrión Pablo Iglesias is Professor of Political Science at the Universidad Complutense . Doctor European mention of the Complutense (2008) graduated in Law in 2001 and Political Science in 2004, with honors. Has been a visiting researcher at several universities in Latin America, Europe and the United States has also film courses specializing in cultural studies graduate program in humanities at the University Carlos III de Madrid and philosophy of the media at the European Graduate School (Switzerland) where he studied film directors like Elia Suleiman, or the Brothers Quay and cultural theorists such as Michael Shapiro, Jacques Rancière, Judith Butler and Slavoj Zizek, among others. On a practical level of visual communication, has completed the Film and Television Vocational School of Media Arts Metropolis of short courses in the School of the Arts, interpretation courses on camera and has participated as a writer and actor on some shorts. His latest academic publications on cinema and its film review can available on its website: www.iglesiasturrion.net

Profile l @ s students

undergraduate or graduate students in Social Sciences (Political Science, Sociology, Economics, Law, Anthropology etc.), History, Communication Studies or Humanities (Philosophy, Philology, Arts, etc.)..

PDI and PAS Complutense University.

Professionals and students interested in the subject

Academic requirements: entrance examination University overcome. If tests have not overcome, could result in a letter to the director of course, exceptionally, may accept to be registered who do not pass this requirement in view of their interest or their training.

Collaboration: Associate Dean of Students, New Technology and University Extension, Promotora Network (research professor @ s @ se), AU counter and CEPS Foundation.

Date, duration, credit and venue

15 sessions on Tuesdays from October 19, 2010 until on February 15, 2011 from 17:00 to 21:00 hours. Two complementary practical activities (visiting the film library, attendance at shooting or projections etc.) 5 hours each.

70 hours

Venue: Faculty of Political Science and Sociology at the UCM

7 free credits settings (it is in the process of granting credits ECTS ). After passing the course will get a certificate / diploma General Foundation of the UCM.

Registration fee: 120 euros

deadline: until all the seats

REGISTRATION

To enroll you must go or call the General Foundation UCM C / Donoso Cortés, 65. 5 th floor (Training). 28015 Madrid. Metro: L6, L3 Moncloa L7 Philippines Hours: MF 9 to 14 h. Tel: 913946392 / 913946410. The tuition is made by payment in cash or bank transfer of 120 euros on behalf of the General Foundation of the UCM in the next c SOURCES OF Caja de Madrid 2038 1735 95 6000402225 . Please telephone to confirm the availability of places before making payment.

The documentation to be attached at the time of registration is:

• registration application form
• Copy of bank transfer
• copy of the registration UCM 2009-2010 / 2010-2011 (UCM students only interested in free credits)

Deliver all the previous or fax documentation to the General Foundation.

More information: pabloiglesias@cps.ucm.es

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By Gilda Matos

CHARLYN was the great revelation of the Festival Theatre National Theatre of the Dominican Republic, 2010.

The monologue written, acted and directed by Stalin Rafael Morla is a scathing portrait, Ironically, sour and cruel of human existence in modern times. The piece reveals the essence and philosophical dilemmas of the reality of "Being" of today.

Marx is the hero of the dramatic, the hero is outdated, who rises in revolutionary resistance against a society based on consumption, which overrides and undermines the freedom of choice of Ser

The genius of this theater piece is in dramatic conflict, presents a revolutionary revolt and exiled to the closure of a toilet against the empire of consumerism called "Mafia Propa " from this situation reflects contradictions convincingly on philosophical, psychological and policies today. The author provides a speech nonchalantly risk using the word "stool" with all verbal modes, without ridicule or in bad taste, rather, leads and brings the whole rotten world that we reveals, and almost managed to convince us, that " The world is a huge crystal ball full of excrement."

The visual image and sense of evocative monologue keep a relationship with the iconography of the work The Death of Marat French painter David, held in memory of the death of Jean Paul Marat critical revolutionary, martyr of the French Revolution. In parallel, the stage picture created by Rafael Morla brings to the National Theatre Festival to Marat located in the XXI century, with a critical eye at a time where they have disappeared and utopian ideological struggles to gain strength to the opinion of capitalism until reduced global consumption of Being focused

Morla critical conflicts in the postmodern individual, communicating with words, signs, image and music reveals a speech that became the surprise of the National Festival of 20010.

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Exercise Dramatúrgistico

fable from The story I

The original work "Ooniia or the path of the sun ", the Puerto Rican writer Amilcar Aguilú Cintron is a narrative that articulates literary timeless. Ooniia, character around which the story unfolds, has its stages crossing between parallel universes. His past-present-future is represented in a simultaneous multiple experiences encountered, waking revealed between passages from memory, despite the reality, energetic contact with nature and importance of higher states of knowledge.

dramatic adaptation to first determine fully respect and maintain the original story, for all the poetic beauty contained in its narrative resources, raw materials which would produce our vision stage.

Aware that we were dealing with a text away from formal theatrical structures, we proposed an exercise of dialogue and dramatic translation, identifying the times and the descriptive stage, to thereby place the multiple narrative and symbolic spatiality of the text, recreating analogies and equivalence in a parallel embodiment in place represent extra hidden everyday gestures of the word.

We were interested in creating a new body acting owned by the actress, who translated the codes in that gesture, reinventing and revealing imagery and playfulness in his narrative, opening and proposing viewers a visual imaginary stream, where the playful, the physical and the object, trigger a bridge in sensitive and amazement dilated, leading that connect sensory and perceptual, that strange, terrible and familiar to the human drama that takes us back to visceral and vital.