FILM AESTHETICS

25-26 / Undergraduate

In this annual seminar, we approach art theory from an interdisciplinary perspective. The course is divided into five modules:
1. Historical definitions of aesthetics: From aisthesis to the critique of beauty.
2. Method, authorship, and gesture: A theory of cinema as a performing art.
3. Semiotics, iconography, and aesthetic categories.
4. Critical theory and postmodernity.
5. Generative art, new media, and digital aesthetics.

ETHICS AND AESTHETICS OF GENERATIVE-AI TOOLS

25-26 / Graduate + Ungraduate

In this intensive course, we introduce creative processes using Generative Artificial Intelligence from a critical perspective. We will study the foundations of the singularity and alignment dilemmas, as well as the historical poetics they have inspired in art. The course also examines the economic impact of the development and adoption of these technologies, fostering a critical dialogue with the student regarding the role of the artist in society. In this regard, the reflection extends to the issue of authorship, offering a critique of the concept of intellectual property. Finally, the course delves into the ethical dilemmas inherent in both the development and the regulation of these tools.

APPLIED METHODOLOGIES TO MASTER'S THESIS

25-26 / Graduate

In this semester-long seminar, students are introduced to the development of their Master’s Thesis. To this end, the course examines how to build the foundations of research linked to artistic practice, from the definition of objectives to the overall structure. The primary methodological strategies related to Arts-Based Research (ABR) are presented, alongside the fundamentals of academic writing and citation.

HISTORY OF CINEMA II

24-25 / Ungraduate

This annual seminar addresses Modern Cinema. Beginning in the aftermath of World War II, we study the emergence of realist movements in Italy, Spain, and Japan. From this starting point, we delve into the so-called "New Waves", as well as the industrial shifts within the Hollywood studio system, leading to the contemporary dialectic between the blockbuster and globalized independent cinema.

In the second half of the course, we conduct an approach to the history of film genres, defining the creative engines of each of these narrative systems, ranging from horror to comedy.

HISTORY OF CINEMA I

24-25 / Ungraduate

This annual seminar addresses the origins of cinema up to the classical era. Beginning with early pre-cinematic toys and the inventors of the apparatus, the course proposes a critical journey through the global expansion of the cinematograph, following the imperialist trails of the late 19th century.

Next, we study the intersection of European avant-garde movements and cinema during the interwar period, as well as the Patent Wars in the U.S.—the prelude to the studio system and Hollywood classicism. Finally, the course addresses the rise of fascism in Italy, Germany, and Spain, and the arrival of illustrious migrant masters to the United States.

ACTING TECHNIQUES APPLIED TO SCREENWRITING

25-26 / Ungraduate

In this eminently practical course, screenwriting students are introduced to performance techniques. The objective is to translate the playful logic of theatrical rehearsals into the writing process. To this end, a series of dynamics are proposed—primarily inspired by the technical foundations of Michael Chekhov, Bertolt Brecht, Anne Bogart, and Tina Landau—to help students engage with cross-cutting concepts of contemporary theatrical theory, such as imagination, gestus, spatio-temporal perception, and convention.

FILM RESEARCH AND EXPERIMENTATION

23-24 / Graduate

This practical course delves into the problem of discontinuity in film editing as it relates to the screen actor. Through a series of performance dynamics, students engage with cinematic temporality, exploring concepts such as time pressure, script-fragmented actions, and the orientation of the body toward the camera.

PROJECTS II

23-24 / Ungraduate

In this course, students develop their own filmmaking projects. Throughout the process, they receive supervision across the various stages of writing, production, directing, and editing, leading up to the final screening of their short films. Additionally, during the shooting, students participate in all crew positions, rotating through the different departments that comprise the production team.