Cinematography: Screenings 8
Subject is not scheduled Not scheduled
Name of lecturer(s)
Learning outcomes of the course unit
Greater overview of contemporary cinematography from the perspective of image narration. Intoduction of theory approaches into practical use.
Mode of study
Presentation of instructor experience accompanied by dialogue with the creator.
Prerequisites and co-requisites
Course on contemporary stylization trends for image narration will focus, primarily, on achievement of individual trends though demonstrating the links between contemporary directors and their cameramen
Individual classes will be comprised of 4 basic parts:
- presentation of individual trends, their analysis and anchoring in film narration.
- presenting examples to initiate thought on the given issue and support the prior presentation.
- analysis of cameramen (including their filmographies), their approach to the given trend and comparison of work styles
- guiding the analysis by individual students and their view of the given issue.
- Stylization, stylistics, style and other categories in film narration.
morphem, phoneme, sytax, development of film language
division of basic trends: Authenticity, Coloring, Toning, Format use, Movement, Dynamics, Lighting, Digitalization.
Analysis of highlighted authenticity potential in contemporary film.
Jean-Pierre Dardenne a Luc Dardenne
- Image movement and dynamics
In relation to authenticity the following class is devoted to narration using image movement and those trends which in recent year more and more are appearing on the silver screen.
Robert D. Yeoman
- Image coloring and toning
Potential of working with color in the image started with the introduction of color film into the film industry, use and development. Modern technical possibilities on one hand continue to broaden, but on the other, they require a complex approach by the artist.
Guillermo del Toro
- Use of various image formats
Working with individual technology formatsfrom shooting with a mobile telephone to IMAX technology in modern common reality. Selection of format, also, significantly influences the stylization concept of the resulting work and may create the tempo of the film language.
- Image lighting approaches
With the migration to digital technology the has been a significant change in the approach to manners of lighting and creating light atmospheres.
- Digital and film „look“
Difference of image appearance between film and digital, upon the spread of digital recording technology has moved from the imitation of film appearance to its crystallization towards the classic film image and establishing the digital appearance.
- Directors and their vision (3-4 classes)
Analysis and look at the development of important directors in relation to their standard cameramen including references to differences in approach to individual genres and differences in image appearance in change of cameraman.
Paolo Sorrentino - Luca Bigazzi
Steve McQueen - Sean Bobbit
Park Chan Wook - Chung-hoon Chung
Coen Brothers - Roger Deakins
Christopher Nolan - Wally Phister x Hoyte van Hoytema
Krzystow Kieslowski - Slawomir Idziak
Peter Jackson - Andrew Lesnie
Darren Aronofski - Matthew Libatique
Alejandro Innaritu - Emmanuel Lubezki
Guillermo Del Toro - Guillermo Navarro
Steven Spielberg - Janusz Kaminski
Alan Parker - Michael Seresin
Nicolas Winding Refn - Newton Thomas Siegel, Larry Smith,
Clint Eastwood - Tom Stern
Denis Villeneuve - André Turpin, Roger Deakins, Bradford Young
- Adaptable image artists
Analysis of groups of cameramen which change their original style based on working with a particular genre or working with a director.
- New names in image recording.
Overview of new cameramen and their styles.
Natasha Braier - Neon Demon
Alex Catalán - Marshland
Mátyás Erdély - Son of Saul
David Gallego - Embrace of the Serpent
Mikhail Krichman - Leviathan
- Cameramen - Craftsmen
The first group of cameramen for whom image narration was a craft. Part of the class is an analysis of their important works in comparison with the standard shooting of most of their recordings.
- Image narration in Czech cinematography
Overview of the basic image approaches in Czech cinematography including an emphasis on selected artists.
Recommended or required reading
ECO, Umberto, Teorie sémiotiky. Praha: Argo, 2009. ISBN 978-80-257-0157-7
GAMUT, L. T. F., Logic, language, and meaning 2 sv. Chicago and London: The University of Chicago Press, 1991. ISBN 978-0-226-28088-2
SADOUL, Georges, Dějiny filmu. Praha: Orbis, 1958. 486 s.
THOMPSON, Kristin, BORDWELL, David, Dějiny filmu. Praha: Akademie múzických umění, 2007
THOMPSON, Kristin, Storytelling in the New Hollywood. New York: Harvard University Press, 1999. ISBN 0-674-83974-9.
Assessment methods and criteria
Essay submission (2000 words)
No schedule has been prepared for this course