Film Analysis 3
Subject is not scheduled Not scheduled
|304EFA3||Z||1||2 hours (45 min) of instruction per week, 7 to 12 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
Introduction of theory and practice methods of cinematic work analysis focusing on its image component from aesthetic and technology perspectives on examples of significant films from various periods representing various orginal forms, styles and processes.
Mode of study
Film screenings of Blue-ray digitally restored films from 35mm film copies supplemented by film analyses, comparison samples, quotes from artist interviews and period critiques. Supplementary image material will be discussed with the students during individual classes. Part of the classes will also be a presentation of the films' cameramen and image artist profiles
Prerequisites and co-requisites
Short introduction to film screenings presenting original works and styles of individual cameramen.
- 05.10. Heaven's Gate
- 12.10. Amores Perros
- 19.10. A nyomozó
- 26.10. The Wizard of Oz
- 02.11. Ordet
- 09.11. Samourai
- 23.11. Le Quai des brumes
- 30.11. Last Summer
10. 07.12. Valérie a týden divů
11. 14.12. Three Days of the Condor
12. 21.12. Promised land
Recommended or required reading
Roger Seards. Making Pictures: A Century of European Cinematography. London: Aurum Press - IMAGO, 2003.
Bordwell, David ?Thompson, Kristin. Art of Film: An Introduction to the study of form and style. New York: McGraw-Hill 2013. 10th edition.
Aumont Jacques - Michele Marie. Analisis del film / Analysis of Film. Nathan. Barcelona: Ediciones Paidos Iberica 1990.
Ryan, Michael, and Melissa Lenos. An Introduction to Film Analysis: Technique and Meaning in Narrative Film. London: Continuum, 2012.
Livingstone, Margaret. Vision and Art. Biology of Seeing. New York: Abrams 2002.
Richard Misek, Chromatic Cinema. Oxford: Wiley-Blackwell 2010.
Cherchi Usai Paolo Silent Cinema. An Introduction. London: British Film Institute 2000.
Torkell Sa?tervadet. Advanced Projection Manual. Oslo: FIAF ? Norwegian Film Institute 2005.
Journals and magazines: Film History, Sight and Sound etc.
Special articles focused on films analyzed that will be shared with students in Dropbox folder.
Assessment methods and criteria
A requirement for successful completion of the course is regular attendance at screenings and classes. At the close, the student submits an essay of a macro-view of the projected film and choose one sequence/part/one shot only of his own choice as well as the genre and focus of his writing (e.g. analysis of the framing, intepretation of the sense of colours, juxtaposition essay of the camera and main characters movements/editing/sound design or the analysis of the cinematographer's style on comparing his different films etc). The paper will be supplemented with complete filmographic & director as well as cinematoghrapher biographic data and used learning resources in at least 4 standard pages. Student will deliver his/her written film analysis until the January 15th of the year, to email address: firstname.lastname@example.org in .rtf/.doc file.
No schedule has been prepared for this course