1. Methods of Criticism and Film Theories.
From March 23 to March 27 (In the afternoon)
It is focused on the most important moments of cinematic discourses, making emphasis on tools developed by criticism thought. While the evolution of film theories will be reviewed, the main instruments through which an audio visual work is measured will be presented. Likewise, this course suggests a methodology of writing film criticism upon the main aspects of the audiovisual experience.

2. Film History and the Evolution of Film Language.
From March 23 to April 27 (in the mornings)
During this course, conversations about technological and stylistic advances and their effects on society will be held, taking into account an objective perspective of the production, distribution and exhibition of films. It will pay special attention on how to capture/create/vary space, time and memory through an analysis of the evolution of film language. And to that fascinating and peculiar "as if it were true" which is highlighted as a sense of aesthetic experience, a language in which facts and events are seen as if they were real, and time is a bifurcation of any possible present. This course will not only focus on Hollywood's classic model of representation: filmmakers and works that embody a questioning attitude or which are simply different, will have a privilege place here.

3. Avant Garde language
From April 13 to April 24 (in the afternoons)
This course will present a panorama of the most significant periods of experimental film. The teacher will present and subject to discuss some of the first experimental film works: abstract animation, Dadaism, Surrealism, lyric and mythic-poetic films. It will also focus on avant garde in San Francisco and New York, two of most important stages of avant garde movement in North America, the structural film, Canadian Movie and video art. The purpose of this course is to offer students a historical sense of the evolution of avant garde film to familiarize students with the techniques used by these filmmakers. This knowledge will benefit students because it offers a vision of different experimental practices.

4. Autherist Film Theory.
From April 6 to April 10 (in the mornings)
Cinematographic media has been many artists' space to express their ideas. The personal universe of these "authors" is visible in their work, in a general and particular sense. This course will be focused on the origin and the evolution of autherist film theory and the problem of interpretation derived from this genre. Autherist theory will be applied to the formal and thematic analysis of the cinematographic work.

5. Introduction to the analysis of films
From April 13 to April 24 (in the mornings)
Introduction to film forms and techniques and to help to understand them with a wide range of cultural and critical perspectives. During the first part, the student will get in touch with media properties and mechanisms. Later, stylistic and geo-politic contexts will be analyzed. It will also focus on the most important approaches and practices of current film studies, specifically on those which relate films to class, gender, race, ethnic groups, and sexual orientation. The main objective of this module is to provide students with a general appreciation of motion pictures and film models as well as the concepts and methods which are applied when analysing a film.

6. Tools for Documentary Criticism.
From March 30 to April 3 (in the afternoons)
Documentary film was born as a direct reaction of modernity, expressed through a direct record of the image of objective reality. It is, on one hand, a consequence of symbolic thinking zenith and its yearning of dominance over the material world; and on another hand, a naïve attitude towards the recording capacity of the new technological devices. This is all clear according to proper theorizations and original definitions of the genre: "a creative treatment of reality", "the contrary of fiction", etc. Documentary is in fact, a hybrid and an ambiguous expressive means, in which a series of rhetoric coexists, that makes it one of the most difficult film forms to classify. Today, documentary distinctive ranges are dispersed, as well as its mechanisms of representation, in a critic dialogue with new tendencies pure and social sciences of the past century, especially Sociology and Historiography. In this context of reflection, the course will analyze different documentary rhetoric strategies and its resources of analysis and critics in the last 40 years and the tendencies of thoughts that have influenced the appreciation of concepts of objectivity, historic truth and veracity.

7. Tools for Animated Film Criticism
From April 6 to April 10 (in the afternoons)
The objective of this workshop is to provide students with the base to analyse animated films, a series of instruments which aim to establish a method for criticizing animated film. This comes from an analysis of its historic evolution, the techniques and the aesthetic problems derived from them, to get a complex comprehension of animation as a different medium, characterized by its specific development and synergies with the audiovisual language in every of its expressions.

8. Composition (with tutorship) of an assay based on a film topic.
From April 27 to May 1 (morning and afternoons)
Essays will be presented on May 1

Additional Courses. (nighttime):
• Transgression and Post-modern films (Stanley Fogel). 1 week. (15 hours)
• Female Cinema (Rossana Maule). 2 weeks (30 hours).
• Introduction to Indian Cinema (Indrail Chakravarty). 1 week (15 hours)
 

• Alberto Ramos (Cuba)
• David Douglas (Canada)
• Dean Luis Reyes (Cuba)
• Indranil Chakravarty (India)
• Jorge Yglesias (Cuba)
• Rossana Maule (Canada)
• Stanley Fogel (Canada)