PROFESSOR: PATRÍCIA LINO [patricialino@g.ucla.edu]
ONLINE OFFICE HOURS: T R 12:00-1:00pm*
*All office hours will be hold online through ZOOM and must be scheduled with me at least two days before.
PRACTICE YOUR PORTUGUESE OR SPANISH ONLINE WITH ME: T R 2:00-3:00pm**
**Must be schedule with me at least two days before.
ONLINE OFFICE HOURS: T R 12:00-1:00pm*
*All office hours will be hold online through ZOOM and must be scheduled with me at least two days before.
PRACTICE YOUR PORTUGUESE OR SPANISH ONLINE WITH ME: T R 2:00-3:00pm**
**Must be schedule with me at least two days before.
SYLLABUS
DESCRIPTION
BRAZILIAN FILM introduces different key aspects of Brazilian culture through a variety of cinematographic objects. This course offers students an introduction to significant works, concepts, and theories of Brazilian cinema as well as the necessary and adequate tools for the analysis of creative practices or inter-artistic relations.
NOTE
The syllabus and the videos are my intelectual property. Therefore, any reproduction or unauthorized circulation is forbidden.
1. WEEK 1: INTRODUCTION
1.1. CLASS 1 | MARCH 31:
BRAZILIAN FILM introduces different key aspects of Brazilian culture through a variety of cinematographic objects. This course offers students an introduction to significant works, concepts, and theories of Brazilian cinema as well as the necessary and adequate tools for the analysis of creative practices or inter-artistic relations.
NOTE
The syllabus and the videos are my intelectual property. Therefore, any reproduction or unauthorized circulation is forbidden.
1. WEEK 1: INTRODUCTION
1.1. CLASS 1 | MARCH 31:
Definition + General and Historical Overview
BLACK ORPHEUS (1959) by MARCEL CAMUS
BLACK ORPHEUS (1959) by MARCEL CAMUS
WATCH BLACK ORPHEUS HERE.
HOMEWORK: Exercise(s) mentioned in lecture.
Write a comment (1 page) about Black Orpheus.
Email it to me up until 2h before next class.
DOCUMENTS
Lumière, Workers Leaving the Lumiere Factory (1895) [LINK]
Eisenstein's Methods of Montage Explained | Montage Theory [LINK]
1929: Man With A Movie Camera, What makes something "Cinema"? [LINK]
Carmen Miranda, Hello Hello Brazil [LINK]
Carmen Miranda, "Aquarela do Brasil" & "You Discover You're In New York" [LINK]
Professor Ricardo Vasconcelos on Black Orpheus [LINK]
"Black Orpheus", Brown University Library [LINK]
"Black Orpheus", Criterion Collection [LINK]
1.2. CLASS 2 | APRIL 2:
HOMEWORK: Exercise(s) mentioned in lecture.
Write a comment (1 page) about Black Orpheus.
Email it to me up until 2h before next class.
DOCUMENTS
Lumière, Workers Leaving the Lumiere Factory (1895) [LINK]
Eisenstein's Methods of Montage Explained | Montage Theory [LINK]
1929: Man With A Movie Camera, What makes something "Cinema"? [LINK]
Carmen Miranda, Hello Hello Brazil [LINK]
Carmen Miranda, "Aquarela do Brasil" & "You Discover You're In New York" [LINK]
Professor Ricardo Vasconcelos on Black Orpheus [LINK]
"Black Orpheus", Brown University Library [LINK]
"Black Orpheus", Criterion Collection [LINK]
1.2. CLASS 2 | APRIL 2:
CASA GRANDE (2015) by FELLIPE BARBOSA
SOCIAL PORTRAIT(S)
WATCH CASA GRANDE HERE.
HOMEWORK: Write a comment (1 page) about Casa Grande.
Email it to me up until 2h before next class.
DOCUMENTS
Review on Casa Grande, The New York Times (2015) [LINK]
SOCIAL PORTRAIT(S)
WATCH CASA GRANDE HERE.
HOMEWORK: Write a comment (1 page) about Casa Grande.
Email it to me up until 2h before next class.
DOCUMENTS
Review on Casa Grande, The New York Times (2015) [LINK]
2. WEEK 2: SOCIAL PORTRAIT(S)
2.1. CLASS 1 | APRIL 7:
2.1. CLASS 1 | APRIL 7:
THE SECOND MOTHER (2015) by ANNA MUYLAERT
WATCH THE SECOND MOTHER HERE.
HOMEWORK: Watch ROMA (2018) by ALFONSO CUARÓN.
Write a comparative comment (1 page) about The Second Mother and Roma.
Email it to me up until 2h before next class.
DOCUMENTS
Review of The Second Mother, Film Comment [LINK]
Review of The Second Mother, Indie Wire [LINK]
Review of Roma, The New York Times [LINK]
Review of Roma, The New Worker [LINK]
Review of Roma, CNet [LINK; Spanish]
WATCH THE SECOND MOTHER HERE.
HOMEWORK: Watch ROMA (2018) by ALFONSO CUARÓN.
Write a comparative comment (1 page) about The Second Mother and Roma.
Email it to me up until 2h before next class.
DOCUMENTS
Review of The Second Mother, Film Comment [LINK]
Review of The Second Mother, Indie Wire [LINK]
Review of Roma, The New York Times [LINK]
Review of Roma, The New Worker [LINK]
Review of Roma, CNet [LINK; Spanish]
2.2. CLASS 2 | APRIL 9:
UNREPRESENTED REPRESENTED
TATTOO (2013) by HILTON LACERDA
WATCH TATTOO HERE.
HOMEWORK: Write a comment (1 page) about Tattoo.
Email it to me up until 2h before next class.
TATTOO (2013) by HILTON LACERDA
WATCH TATTOO HERE.
HOMEWORK: Write a comment (1 page) about Tattoo.
Email it to me up until 2h before next class.
3. WEEK 3: UNREPRESENTED REPRESENTED
3.1. CLASS 1 | APRIL 14:
3.1. CLASS 1 | APRIL 14:
LAERTE-SE (2017) by LYGIA BARBOSA DA SILVA & ELIANE BRUM
WATCH LAERTE-SE HERE.
HOMEWORK: Write a comment (1 page) about Laerte-se.
Email it to me up until 2h before next class.
DOCUMENTS
Review of Laerte-se, Dailydot [LINK]
Brazil's trans community fights for equality and safety [LINK]
Article on Transgender Body & Brazilian law [PDF; Portuguese]
WATCH LAERTE-SE HERE.
HOMEWORK: Write a comment (1 page) about Laerte-se.
Email it to me up until 2h before next class.
DOCUMENTS
Review of Laerte-se, Dailydot [LINK]
Brazil's trans community fights for equality and safety [LINK]
Article on Transgender Body & Brazilian law [PDF; Portuguese]
3.1. CLASS 2 | APRIL 16:
THE SOCIAL ROLE OF ART
WASTE LAND (2010) by LUCY WALKER
WATCH WASTE LAND HERE.
HOMEWORK: Write a comment (1 page) about Waste Land.
Email it to me up until 2h before next class.
DOCUMENTS
Review of Waste Land, The New York Times [LINK]
Review of Waste Land, The Guardian [LINK]
Article on Waste Land [PDF; Portuguese]
Article on Waste Land [PDF; Spanish]
WASTE LAND (2010) by LUCY WALKER
WATCH WASTE LAND HERE.
HOMEWORK: Write a comment (1 page) about Waste Land.
Email it to me up until 2h before next class.
DOCUMENTS
Review of Waste Land, The New York Times [LINK]
Review of Waste Land, The Guardian [LINK]
Article on Waste Land [PDF; Portuguese]
Article on Waste Land [PDF; Spanish]
4. WEEK 4: THE SOCIAL ROLE OF ART
4.1. CLASS 1 | APRIL 21:
4.1. CLASS 1 | APRIL 21:
|
NISE: THE HEART OF MADNESS (2017) by ROBERTO BERLINER
WATCH NISE: THE HEART OF MADNESS HERE. HOMEWORK: Write a comment (1 page) about Nise: The Heart of Madness. Email it to me up until 2h before next class. DOCUMENTS Resistance, innovation and clinical practice in Nise da Silveira's thoughts and actions [LINK] "Nise da Silveira (1905–1999), Brazilian psychiatrist and pioneer of rehabilitation psychiatry – extra", British Journal of Psychiatry [LINK] |
4.2. CLASS 2 | APRIL 23: TODAY'S CLASS WILL BE EXCLUSIVELY DEDICATED TO THE MAKING OF YOUR
SHORT. USE THE 1H 50MIN TO WORK ON YOUR SHORT FILM.
SHORT. USE THE 1H 50MIN TO WORK ON YOUR SHORT FILM.
|
INSTRUCTIONS
1. Select a subject. Examples: quarantine; loneliness; social and work rights during quarantine; sense of community or community spirit during quarantine; family; time; reflection; etc.. 2. Draw a storyboard. Organize your narrative. Who are your characters? Is there a narrator? Are you the narrator? How many scenes? How many cuts? What will be the soundtrack? 3. Your short film has to last at least 5 minutes. 4. Make sure to include at least 3 of the cuts/transitions or effects mentioned HERE. 5. Be creative and feel free to explore any subject you are interested in. 6. Upload your film to our Youtube channel until 12:00AM of May 4. Make sure to include a small description (300 words) in your post. 7. Prepare yourself to present your short film to me on May 5 or May 7 (check schedule, Week 6). Youtube channel Email: uclaportuguese@gmail.com Password: uclaportuguese2020 |
5. WEEK 5: INDIGENOUS COMMUNITIES
5.1. CLASS 1 | APRIL 28:
5.1. CLASS 1 | APRIL 28:
5.2. CLASS 2 | APRIL 30:
TODAY'S CLASS IS EXCEPTIONAL: YOU HAVE TO WATCH THE TWO FILMS
BELOW. TAKE THE REST OF YOUR TIME TO FOCUS ON YOUR SHORT FILM.
AMAZÔNIA ETERNA (2014) by BELISARIO FRANCA
WATCH AMAZÔNIA ETERNA HERE.
DON'T SWALLOW MY HEART, ALLIGATOR (2017) by FELIPE BRAGANÇA
WATCH DON'T SWALLOW MY HEART, ALLIGATOR HERE.
NO HOMEWORK. YOU MUST FOCUS ON YOUR SHORT FILM.
BELOW. TAKE THE REST OF YOUR TIME TO FOCUS ON YOUR SHORT FILM.
AMAZÔNIA ETERNA (2014) by BELISARIO FRANCA
WATCH AMAZÔNIA ETERNA HERE.
DON'T SWALLOW MY HEART, ALLIGATOR (2017) by FELIPE BRAGANÇA
WATCH DON'T SWALLOW MY HEART, ALLIGATOR HERE.
NO HOMEWORK. YOU MUST FOCUS ON YOUR SHORT FILM.
6. WEEK 6: ORAL PRESENTATIONS
6.1. CLASSES 1-2 | MAY 5 AND 7:
PRESENTATIONS OF THE SHORT FILMS MADE BY STUDENTS.
SCHEDULE (PDF)
6.1. CLASSES 1-2 | MAY 5 AND 7:
PRESENTATIONS OF THE SHORT FILMS MADE BY STUDENTS.
SCHEDULE (PDF)
7. WEEK 7: EMPOWERED WOMEN
7.1. CLASS 1 | MAY 12:
7.1. CLASS 1 | MAY 12:
|
STOLEN DREAMS (2010) by SANDRA WERNECK
WATCH STOLEN DREAMS HERE. HOMEWORK: Write a comment (1 page) about Stolen Dreams. Email it to me up until 2h before next class. RECOMMENDED ANJOS DO SOL (W/ ENGLISH SUBTITLES) HERE. |
7.2. CLASS 2 | MAY 14:
|
VAZANTE (2018) by DANIELA THOMAS
WATCH VAZANTE HERE. HOMEWORK: Write a comment (1 page) about Invisible Life. Email it to me up until 2h before next class. |
8. WEEK 8: EMPOWERED WOMEN
8.1. CLASS 1 | MAY 19:
8.1. CLASS 1 | MAY 19:
|
INVISIBLE LIFE (2019) by KARIM AINOUZ
WATCH INVISIBLE LIFE HERE. NO HOMEWORK. YOU MUST FOCUS ON YOUR FINAL PAPER. |
8.2. CLASS 2 | MAY 21:
|
URBAN ART + ART EXERCISE
PIXO (2010) by JOÃO WAINER AND ROBERTO T. OLIVEIRA WATCH PIXO (2010) HERE. ART EXERCISE 1. What "pixo" would you do in your city? 2. Draw your own "pixo", based on your own convictions and believes, and send it to me by email up until 2h before next class. 3. Any art material and ideas are very welcome. SUGGESTIONS CIDADE CINZA (OS GÉMEOS) (2017). |
9. WEEK 9: MODERN BRAZIL AND POLITICS
9.1. CLASS 1 | MAY 26:
9.1. CLASS 1 | MAY 26:
|
BRAZIL: BEEF, BIBLES AND BULLETS (2019) by FRANÇOIS CARDONA
WATCH BRAZIL: BEEF, BIBLES AND BULLETS HERE. HOMEWORK: Write a comment (1 page) about BRAZIL: BEEF, BIBLES AND BULLETS. Email it to me up until 2h before next class. |
9.2. CLASS 2 | MAY 28:
10. WEEK 10: ESSAY ON AN ESSAY
CLASSES 1-2 | JUNE 2 AND 4: Discussion about final papers.
FINAL PAPER PRESENTATIONS SCHEDULE
Your FINAL PAPERS must be turn in until 12:00AM (midnight) of JUNE 11.
CLASSES 1-2 | JUNE 2 AND 4: Discussion about final papers.
FINAL PAPER PRESENTATIONS SCHEDULE
Your FINAL PAPERS must be turn in until 12:00AM (midnight) of JUNE 11.
Course materials
All course materials will be available online.
Grading and Assignments
40% Response papers and activities
15% Short film
45% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
All response papers, presentations, and final paper can be written and presented in English, Portuguese, or Spanish.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving Brazilian cultural world. The final paper should be 4-10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [patricialino@g.ucla.edu] in PDF format.
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-15 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.
All course materials will be available online.
Grading and Assignments
40% Response papers and activities
15% Short film
45% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
All response papers, presentations, and final paper can be written and presented in English, Portuguese, or Spanish.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving Brazilian cultural world. The final paper should be 4-10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [patricialino@g.ucla.edu] in PDF format.
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-15 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.
