Image narration and current stylization terms 1

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Code Completion Credits Range Language Instruction Semester
304EIN1 credit 1 20 hours (45 min) of instruction per semester, 10 to 15 hours of self-study English winter

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Short introduction to film screenings presenting original works and styles of individual cameramen.

Seminars on contemporary stylization trends for image-based photography will focus primarily on capturing the individual trends by demonstrating the links between contemporary directors and their cameramen.

The individual seminars will consist of four basic parts:

  1. interpretation of individual trends, analysis thereof and placement within the narrative.
  2. samples which should stimulate deep thinking on the issue and support the preceding explanation.
  3. analysis of specific cameramen (including their filmographies), their approaches to the trends concerned and comparison of their work methods.
  4. analysis by students themselves and their views of the issue concerned.

Topics of individual seminars:

  1. Stylization, stylistics, style and other categories of film narration.

Morph, phonem, syntax, development of film narration

Classification of basic trends: Authenticity, Color range, Toning, Format Uses, Movements, Dynamics, Lighting, Digitization.

  1. The authenticity trend

Analyze the possibilities of enhancing authenticity in contemporary film.

Directors:Jean-Pierre Dardenne and Luc Dardenne, Jacques Audiard, Paul Greengrass

Cameramen: Barry Acroyd , Harris Savides

Oliver Wood

  1. Trends in motion and image dynamics

Following the trends in authenticity, the following workshop is dedicated story telling through image movements and their trends, which have been establishing increasingly on silver screen in recent years.

Directors:Gaspar Noe, Wes Anderson, Alejandro Inárritu

Cameramen: Stéphane Fontaine , Benoît Debie, Robert D. Yeoman

  1. Trends in color and image toning

The options for working with color in the image have been both used and developed ever since color film established itself in the film industry. On one hand, the current technologies extend such options; on the other, they require a more complex approach by the authors themselves.

Directors: Wachowski siblings, Guillermo del Toro, Michael Bay

Cameramen: Adam Arkapaw, Dan Laustsen, Seamus McGarvey, Bill Pope

  1. Trends in the use of various image formats

At present, working with individual technology formats from mobile phone photography to IMAX technology is a common thing. The choice of formats also significantly influences the stylization concept of the resulting work and can create the pace of the film's narration.

Directors: James Cameron, Ang Lee, David Ayer, Robert Zemeckis

Cameramen: Robert Elswit, Daniel Mindel, Claudio Miranda, John Toll, Roman Vasyanov

  1. Trends in the approach to image lighting

The advent of digital technology has significantly affected the approach to the lighting methods and the creation of light atmospheres.

Directors: David Fincher, Tim Burton, Terrence Malick

Cameramen: Jeff Cronenweth, Bruno Delbonnel, Dariusz Wolski

The seminar applies the analysis to the students' own work from the point of view of the image narration.

Learning outcomes

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.

Prerequisites and other requirements



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

Evaluation methods and criteria

  1. compilation of a critical essay on a selected work - a feature film (2000 words).
  2. final analysis of the individual students’ camera work.


The course will be in the form of analyses of examples from the works of various authors in relation to the topic

Schedule for winter semester 2023/2024:

room 221
Room No. 221

(Lažanský palác)
(lecture parallel1)
classes only on 13.11.+20.11.+27.11.+4.12.
Date Day Time Tutor Location Notes No. of paralel
Mon 18:10–21:25 Roman KAŠPAROVSKÝ Room No. 221
Lažanský palác
classes only on 13.11.+20.11.+27.11.+4.12. lecture parallel1

Schedule for summer semester 2023/2024:

The schedule has not yet been prepared

The subject is a part of the following study plans