The Camera Eye

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Code Completion Credits Range Language Instruction Semester
304KO Z 1 3T Czech summer

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Name of lecturer(s)


Learning outcomes of the course unit

Acquisition of basic knowledge of theory issues of the film image through film cameras.

Mode of study

Class instruction, accompanied by film screenings, analysis of film examples and moderated discussions with students

The student's task is to attend each class + one time selection of a film corresponding to the lecture topic or to supplement the class in another manner and to present this independently under the supervision of the instructor.

Part of the classes is the final test of 12 questions made up by the instructor based on the dynamics throughout the classes, reflecting issues dealt with in film analyses. This test will be an important part of the course.

Prerequisites and co-requisites

The requirement for this course is completion of the „Camera bachelor's study“, primarily camera movement.

Course contents

„Kamera Oko“ course is focused on working with a camera and the use of image devices in film language. „Objective-Oko“ (lens eye) of the camera and work with setting of the camera is the link between the use of these instruments in the sense of dramatizing the narration of the film's story. Theory lectures are not in conflict with basic cameraman art, working with light tone, negative exposure or the digital image and their lighting or color concept. On the contrary. They are target oriented but focus only on the directing of camera work on camera movement principles, framing, field depth, shot dimension or other manners of scene shooting set before the camera lens. The classes begin with advocacy of a name and the existence of the given device and then its practical use in shooting a feature film. A study of examples and analysis of selected scenes from films are the basis for group discussions, moderated by the instructor either selecting an example or adapts a screening according to the wishes and selection of the students. The study is focused on the theory study of important film styles influenced by these principles.

1st topic

Movement: Fundamental analysis of the function of movement as a tool for maintaining audience attention. Brain receptor functions and examples of managing and not managing shots from the position of using front-camera or camera movement. The discovery of movement as a bearer of dynamics and dramatization. A graph of the function of the range of effect of dramatization by movemen on a time axis. Analysis of the silent films of George Méliése, Dziga Vertov, Rene Clair, Walter Ruttmann, Alexander Hackenschmied. Basic vocabulary of film language. Editing and movement. Composition and movement. Light and movement. Field depth and movement. Refocusing and movement. Rhythm and movement.

2nd topic

Framing: Fundamental analysis of the relationship of human memory processes and image framing. Mind memory maps and working with the image within a frame and beyond it. Basic principle of the creative activities of humans and their relation to working with memory. Fundamental struction of film language, storyboarding. Function of questions and answers created by framing and use of framing devices in practice. Examples from the film Sacrifice by Andrej Tarkovski

3rd. topic

Narrator and Subjective View: Basic theory of a subjective view and analysis of devices considering the dramatization function of presentation of believability of the submitted subjective view. Real narrator, the camera as narrator, a figure as narrator, the author as narrator and viewer as narrator. List of possible narrators of narration structure analysis in examples of the film Market Lazarova (Vláčil, Baťka).

4th topic

Composition and the Golden Number: Theory and analysis of the funcition of balanced and unbalanced composition. Unbalanced composition as a director's working tool. Working with the golden number as a cameraman's tool. Balance point vs universe spotlight. Screening of student films, 2001: A Space Odyssey

5th topic

Open class intended for the first two students' film analysis. The instructor supplements with examples from own work.

6th topic

Shot Dimension and Image Distinction: Fundamental analysis of the relationship of shot dimension Whole and Detail. Graph of the IMAX cinematorgraphic system, 70mm, 35mm, 16mm, 8mm, 4K, 2K, 07K and their use for emotional story narration. History of the birth of the 35mm film standard. Examples from "The Greatest Story Ever Told, Brother Sun Sister Moon, Vaterland-Hunter's Diary and a comparison of the function of shot dimension Detail and Whole. Barry Salt and his shot dimension research.

7th topic

Field Depth and Three Dimensional Apppearance of the Film Image

Analysis of why we perceive field depth as information about the depth of a space. Working with old photos with large-format photocameras. Field Depth theory. Hyperfocal distance. Field depth tables. Planar and space image treatments made possible by worksing with field depth. Examples from student films.

8th topic

Color Wheel: Fundamental nature of color theory, a historical overview. Aristoteles, Aguilonius, Newton, Goethe, Maxwell, Itten. Three types of color mixing. Color spaces, color managemen. Lookup table. Examples using inspiration from painters' practice for filmmaker practice.

9th topic

Free class intended for two students' film analysis. The instructor supplement with examples from own work.

10th topic

Angle and Axis: Working with spatial axis and ten ways to exceed the axis and confound the perception of story continuity. Incline and angle. Camera view plane, level of stress in audience perception from the actors view. Eye view angle and complex examples of work with spatial axis.

11th topic

Candlestick Theory. Free class intended for two students' film analysis. Instructor supplements with examples from own work.

12th topic

Free class intended for two students' film analysis. Instructor supplements with examples from own work.

Recommended or required reading

Bazin A.: Ci je to film?

Sven Nykvist: Úcta ke světlu

Plazevski, J.: Filmová řeč

Deleuze, G.: Film1 Obraz a pohyb

Assessment methods and criteria

Credit is awarded for 60% attendance with completion of the semester paper.



Further information

This course is an elective for all AMU students

Schedule for winter semester 2019/2020:

The schedule has not yet been prepared

Schedule for summer semester 2019/2020:

room 230
Room No. 230

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Mon 19:00–20:35 Marek JÍCHA Room No. 230
Lažanský palác
lecture parallel1

The subject is a part of the following study plans