Non fiction camera: new trends 2

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Code Completion Credits Range Language Instruction Semester
303NFK2 Z 1 18S Czech winter

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

Study results:

Students sincerely in relation to the film topic work with the potential of film apparatus - lens selection, exposure, cameramovement, staticity, framing, composition, color, lighting atmosphere, shadowning

Students acquire an awareness of the development of film language in contemporary documentary film

Students consider the cameraman's concept, visual style, image langauge in relation to their own recordings.

Mode of study


Prerequisites and co-requisites


Course contents

Course description:

This course is classes with screenings of feature-length documentary films, short films or series of topically designed examples from contemporary documentary cinematography, with guests - exceptional figures of documentary camera (in collaboration with the Camera Dept.). This course includes theory and practice sections.

Topic scope:

The practical section covers creative use of the technical functions of the camera - ex: How does the shot influence the selection of field depth of the lens? How exactly does the aperture on the depth of focus and depth of focus meaningfully influencing ND filters, and how from a perspective of importance, to consider the composition, framing, perspective, golden cut, camera movement, lighting or shadowing lighting sources? How the selection of a type of camera projects into the potential of cameraman practice and methods of recording (ex: static vs dynamic camera)? What method of recording speaks to the overal tone and proportion of a film.

The theory section develops considerations on the overal aesthetics of a film style and language. What are the trends in film language in contemporary world documentary film? What processes and devices do artists consciously select to reach a particular expression, effect, response? From pure experimental positions through intuitive improvisation to rigid directing stylization. Conscious work with the camera takes a central role in this.

Recommended or required reading

Recommended literature:

NICHOLS, Bill. Úvod do dokumentárního filmu. Překlad Kateřina Kleinová. Vyd 1. Praha: Akademie múzických umění v Praze; Jihlava: JSAF, Mezinárodní festival dokumentárních filmů Jihlava, 2010. 316 s. ISBN 978-80-7331-181-0

AUMONT, Jaques. Obraz. Překlad Ladislav Šerý. Vyd. 2. Praha: Akademie múzických umění, 2010. 319 s. ISBN 978-80-7331-165-0

AUMONT, Jaques, BERGALA, Alain, MARIE, Michel and VENET, Marc. Aesthetics of Film. Austin, University of Texas Press, 1992.

BORDWELL, David, THOMPSON, Kristin. Film Art. An Introduction. Second edition, New York: A. A. Knopf, 1986. 400 s. ISBN 0-394-35237-8

BORDWELL, David. Making meaning: inference and rhetoric in the interpretation of cinema. Cambridge, MA: Harvard University Press, 1989. 334 s. ISBN 978-0-674-54336-2

BORDWELL, David. Narration in the Fiction Film. Madison Wisconsin, The University of Wisconsin Press, 1985. 370 s. ISBN 0-299-10170-3

NICHOLS, Bill. Representing Reality, Issues and Concepts in Documentary. Bloomington & Indianapolis, Indiana University Press, 1991.

RABIGER, Michael. Directing the Documentary. Fifth edition, Oxford, Focal Press, 2009.

Assessment methods and criteria

Class attendance (80%), visual style review of a selected film (20%)



Further information

This course is an elective for all AMU students

Schedule for winter semester 2019/2020:

room 217
Room No. 217

(Lažanský palác)


Date Day Time Tutor Location Notes No. of paralel
Wed 18:10–20:35 Lukáš KOKEŠ
Room No. 217
Lažanský palác

Schedule for summer semester 2019/2020:

The schedule has not yet been prepared

The subject is a part of the following study plans