Film Language 2
|311FLG2||Z||2||2h/W||anglicky||zimní i letní|
Jméno vyučujícího (jména vyučujících)
Výsledky učení dané vzdělávací složky
The class is about competence and knowledge of basic film language and grammar, through analysis of material and screenings (also of students material.)
Předpoklady a další požadavky
Not just what is it about but HOW is it about?
– the process of visualisation
– story and literary screenplay – alongside literary work, developing the director’s concept of a text
(director’s statement on the text from the story stage, together with references and research)
What does the story offer in terms of the film’s direction? Why make it into a film?
– work with space, the role of space – nature, architecture in the story, placing of figures in space (from the story phase envisage the space, the alternation of exteriors and interiors, their role, work with the colour of space in relation to the colour of costumes, light and shadow)
Why does my story take place precisely here? Do I use space solely as a background for characters, or do I invest it with other meaning? Do I want it to reflect the inner world of my characters?
– technical script and storyboard – camera angles, ground plan with camera positions. Perspective.
Subjective perspective versus objective perspective – determining the basic viewpoint of the narrative. Who is looking? Why?
Why should I simply use my film to illustrate a literary screenplay? Don’t I want the film’s own movement to be in the forefront of my film? Am I just using shot sequences to write the film? Where is my original story shifted to by the director’s vision? If the form is consistently adhered to, doesn’t that create the content retroactively?
(C. Reygadas, A. Serra, C. Guerra)
– form – the shift from the literary screenplay to the technical script – deciding the tempo, shot length, seeking a modus operandi for composition and camera movement.
How can I use the literary script to describe the time and the silence that I want to include in my narrative? How can I use ellipsis to involve the viewer more? How can “sculpting in time” help me express the innermost psychological changes in my characters? How can I go beyond literalism that binds me to descriptiveness, causalities and psychologizing? How can I create intensity in place of causality? Visuals, storyboard, moodboard, graphic novel, teaser?
– acting style – guiding actors in relation to composition and camera movement, the rhythm of dialogues in relation to the size of the shot, to camera movement, and to editing. Determining the style of acting.
Determining the acting style. Natural v. stylised. Rhythm, composition, verisimilitude, the here and now.
In my film it is not the actor but the actor’s image that performs. What is authentic screen acting? Should the actor play for the camera, or should the camera “simply” record the actor’s performance. Must my actors know the psychological portraits of their characters? Isn’t there a risk that they will present their assumptions of what the result should be? How authentic should the actor be in front of the camera? How can I assist my actors as director?
– the sound concept – the director’s concept of the sound components should already be thought out at the literary script stage (sound style, sync sound versus post-sync; dialogues and sound effects, their interaction and rhythm; determining the foreground and middle ground)
Is it possible for me to replace the image with the sound element? Would this not be a way to involve the viewer’s imagination more? I first show my characters listening and only then do I show what they are listening to (Hou Hsiao Hsien, N.B. Ceylan, Kornél Mundruczo, Ivan Bunin).
Doporučená nebo povinná literatura
Gaston Bachelard: The Poetics of Space, Gaston Bachelard: La poétique de la rêverie (The Poetics of Dreaming), Steven D. Katz: Film Directing Shot by Shot, Eric Sherman: Directing The Film, David Bordwell: Figures Traced in Light, Zwischen Film und Kunst (Storyboards von Hitchcock bis Spielberg), Roy/Leweke: The Berlin School, etc.
Berlin School, Romanian new wave, French new extremity, Taiwanese new wave, Argentinian new cinema, etc.
Visuals, work with space, painters, architects:
Daniel Pitín, Vilhelm Hammershoi, Edward Hopper, Andrew Wyeth, Luca Servino, László Rajk, etc.
Hodnoticí metody a kritéria
Based on participation and results.
Full-length feature films
2011 Eighty Letters (premiere Berlinale 2011) – Director, co-screenwriter, producer
2017 Little Crusader (premiere International Film Festival Karlovy Vary 2017) – Director, co-screenwriter, producer
Projects in course of development:
2017 Saving One Who Was Dead (project supported by SFK, Springboard Finále Plzeň 2017, MIA Market Rome 2017, HAF Asia Financing Forum – Best International Project Award) - Director, story, screenwriter, producer
2017 All Calm in the Treetops – Director, story, co-screenwriter, producer.
2011 Berlinale, world premiere in the Forum section
2011 The Golden Kingfisher Award, Finale Film Festival, Plzeň
2011 Silver Alexander, Special Jury Award, Thessaloniki IFF
2011 International FIPRESCI. prize, Thessaloniki IFF
2012 Czech Film Critics’ Prize
The Little Crusader
2013 New Cinema Network Prize, Rome
2017 Karlovy Vary IFF, main prize Crystal Globe
2018 Czech Film Critics’ Prize, Best Direction
2014 – Teacher at the Film and TV School of the Academy of Performing Arts in Prague
Rozvrh na zimní semestr 2019/2020:
Rozvrh zatím není připraven
Rozvrh na letní semestr 2019/2020:
Rozvrh zatím není připraven