Means of Expression in Documentary Film 2

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
303VPD2 ZK 2 2T Czech summer

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

The course is constructed in two parallel lines: Method and Theory.

In two semesters the students are acquainted with all phases of the formation of an original work build completely or predominantly from a audiovisual image of reality. Generally: A documentary with individual expressive tools that the documentarist has at their disposition and the potential of their effective use.

Firstly, methods and stages of the conceptual-dramaturgy thought process in forming and formulating the subject matter and theme of the work.

Then the course introduces report and reconstruction documentary method implementation with their potential and applications in the implementation process.

It analyses implementation processe, structure and components of documentary shooting. The structure of the motif and situation in the implementation of a documentary work and its composition in relation to individual genres and compositional procedures and relationships of visual and sound expression tools.

Nearly each lecture starts with a detailed structural analysis of some historically important documentarists or contemporary documentaries, or their relevant parts. Theory information is derived from their execution.

This is a professional course and places emphasis on common „speech“ fundamentals of audiovisual expression, continuity and causality of the development of expression tools and their use and effect.

Emphasis is placed, also, on student activity. In discussions about individual examples and creative procedures students are guided to be able to individually consider, define and precisely formulate them and, in particular, apply them learnedly and, at the same time, creatively and uniquely in their own practice.

Mode of study

Classes, screenings, structural analyses of screened films, moderated discussions.

Prerequisites and co-requisites

Completion of Expression Tools in Documentary Film 1. This course is perceived as two-semester and a logical linking of covered topics.

Course contents

  1. Dramaturgy and implementation issues in working with historical archives material I. Ideology and ideologization and its structure.

Films: Echo of the Jackboot/Triumph Over Violence /M. Romm/

Triumph of the Will /L. Riefenstahl/

  1. Dramaturgy and implementation issues in working with historical archives material II. Various concepts and approaches. Cultural, social and historical tradition influences.

Film: Hitler /P. Roth/

  1. Documentary film and Propaganda. Models. Potential. Use and misuse. Historical examples and contexts.

Film: Goebels /BBC series „Can We Control Our Conscious?“/

  1. Dramaturgy and directing aspects in the conception of specific archive material. Amateur recordings and films, etc.

Film: Private Hungary /I.Forgacs/

  1. Documentary material, documentary sequencing and feature film. Potential. Types. Extremes. Blending directing methods in feature and documentary projects. Building realistic atmospheres. Documentary material as an image of the psychological state of a character.

Film: Wild Eye /S. Mayers/

  1. Issues in the conception and implementation of collective documentaries.

Film: For a chat in Shaland, Krejča, Svoboda, Faust /R. Adler/

The Stoor /Weismann/

Marriage Stories - Selection /Třeštíková/

  1. Portrait Documentary. Forms and metamorphosis of the viewed optical development of cinematic expression tools.

Film: Žít svůj život - Fotograf J. Sudek /E. Schorm/

  1. Contemporary Portrait documentary. Its forms and execution aspects.

Preparations and shooting. Relationship of the documentarist and the portrayed.

Film: Ester Krumbachová - Gen /J. Němec/

Poutník - Josef Koudelka /R. Adler/

Jedna setina /T. Hejmánek/

Aimless Walk /M. Kudlacek/

  1. Documentary film screenplay. Potential and approaches. Extreme opinions. Continuity of dramaturgical thought in all stages of implementation and preparation of a documentary project.
  2. Contemporary application and perspectives of creative documentary making in media and distribution. Critical analysis.
  3. Business and manners by which provide for documentary material and its quality.

Film: Naoemi Campbell /BBC series Models/

  1. Ethical problems. Pitfalls and standards in documentary work.

Films: Proměny přítelkyně Evy /D. Vihanová/

Máňa. Máňa po deseti letech /O. Sommerová/

  1. Final review. Presentation of written works. Preparations for the colloquium.

Films may be supplemented according to need.

Recommended or required reading

BILL NICHOLS, Úvod do dokumentárního filmu, Akademie múzických umění v Praze a Jihlavský spolek amatérských filmařů, 2010, ISBN 978-80-7331-181-0

Guido Aristarco, Dějiny filmových teorií, ORBIS, Praha,1968

Guy Gauthier, Dokumentární film, jiná kinematografie, AMU, Praha, MFDF, Jihlava, 2004ISBN 80-7331-023-6

Gilles Deleuze, Film 1 Obraz-Pohyb, Národní filmový archiv, Praha, 2000, ISBN 80-7004-098-X

Gilles Deleuze, Film 2 Obraz-Čas, Národní filmový archiv, Praha, 2006, ISBN 80-7004-127-7

Rudolf Adler, Cesta k filmovému dokumentu, FAMU, AMU, Praha, 2001 /třetí rozšířenné vydání/ISBN 80-8588š-72-4

Jerzy Płažewski, Dějiny filmu 1895 - 2005, ACADEMIA, Praha, 2009, ISBN 978-80-200-1689-8

Béla Balázs, FILM, Vývoj a podstata nového umenia SVKL, Bratislava, 1958

Assessment methods and criteria

Conditions for successfull completion of the course: Minimum 50% attendance, participation in discussions, and a short essay of at least 2 pages specially focused on the used of expression media in some of the screened and analysed films.

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans