Character + psychology and personality profile 1
Subject is not scheduled Display Schedule
Karel MALIMÁNEK, Ivo TRAJKOV
Name of lecturer(s)
Karel MALIMÁNEK, Ivo TRAJKOV
Learning outcomes of the course unit
Ability to analyze existing film works but primarily to use acquired knowledge in their own work.
Mode of study
Moderated dialogues, discussions, analyses of media recorded samples.
Prerequisites and co-requisites
Interaction in classes
In the first semester, mental illnesses and basic personality characteristics are examined. The second semester centers around video samples with these personality types in crystallic form and the course leads to understanding and practical application of knowledge obtained in the work with actors and to the ability of continuous portrayal of characters' development.
The course aims to explain to students of editing the process of creating characters out of cooperation between the actor and the director, because the editor is the next, and an equally important, co-creator of characters. The aim for student is also to understand the rules of human behaviour with relation to the fictive film character.
The course attempts to show students the entire process of creation of a dramatical character from the first reading of a script to the final outcome. This process should be viewed from the point of the actor since the beginning of his or her work, through the search of outer and inner characteristics of the character, to the final shooting of film material as a basis for the editor's work. Crucial is the understanding of creative input of the actor and the director, as well as the editor's responsibility of maintaining this input and its comprehensibility in the final form. The same topic will be viewed from the point of the director, starting with the selection of actors, their inspiration and directing with regard to various personality types. Understanding of the actor's and director's work on the character is an important starting point for the work of the editor, who seemingly works with the finished material, but his or her participation on the outcome depends directly on his or her ability to become a part of the previous process. Knowledge from this seminar should be used and tested in practice in specialized excercise in which students themselves will assume the position of a director.
Recommended or required reading
Brenner, C. (1982). The mind in conflict. International Universities PressInc.
Hardcover: 394 pages
Publisher: Wiley; 1 edition (January 18, 2011)
•De Lauretis, T. (1987). Technologies of gender: Essays on theory, film, and fiction (Vol. 441). Indiana University Press.
•Freud, S. (1978). The interpretation of dreams. Hayes Barton Press.
•Gabbard, G. O. (Ed.). (2001). Psychoanalysis and film. Karnac Books.
•Lebeau, V. (2005). Lost angels: psychoanalysis and cinema. Routledge.
•Metz, C. (1982). The imaginary signifier: Psychoanalysis and the cinema. Indiana University Press.
•Schneider, S. J. (Ed.). (2004). Horror film and psychoanalysis: Freud's worst nightmare. Cambridge University Press.
•Žižek, S. (Ed.). (1992). Everything you always wanted to know about Lacan:(but were afraid to ask Hitchcock). Verso.
Assessment methods and criteria
Credit is awarded based on:
Activity in the lectures/exercises/classes
development of the course paper
completion of the final exam
minimum 70% participation in the total classes.
Schedule for winter semester 2019/2020:
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|10:00–17:00||Karel MALIMÁNEK||Room No. 311
Schedule for summer semester 2019/2020:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Montage-1920 (required subject)