Montage workshop 1
Subject is not scheduled Display Schedule
Martin ČIHÁK, Tomáš DORUŠKA
Name of lecturer(s)
Martin ČIHÁK, Tomáš DORUŠKA
Learning outcomes of the course unit
Successful implementation of all group and study exercises. Gathering of knowledge from the workshop program.
Mode of study
Screenplay consultations, shooting manner, rough edit, and, possibly, all rough material after the final edit.
Prerequisites and co-requisites
Readiness to devote the maximum of one's time and energy to the successful mastery of challenging tasks arising from the implementation of the practical exercises.
The workshop should accentuate the open form of thinking about film and through the film, namely video and audio, monitor their relationships (not only) with an emphasis on editing and the open-form sequence-shot film.
The workshop is defined space-time in which students receive pedagogical leadership not only in school exercises and work on their studies, but also in the wider framework of their future profession. Based on theoretical and practical reflections on specific topics builds a method of specific „film“ thinking.
1•Short overview of diverse styles of films and filmmakers from different periods and countries
2•Overview of the film elements of an introduction to narrative theory in films
3•Difference between STORY and TOPIC in films. Different types of narrative and narrators. How the story is expressed by characters - setting - events
4•Review of different editing techniques and their dramatic value
5•Kuleshov Effect – Context Creates Meaning
Key words: Topic, Direction, Critical thinking, Analogy, Situation, Character, Storyboard, Filmmaking, Film language, Kuleshov Effect, Interpretation
Editing exercise: The Chase: One character chasing another. Students learn how to effectively show time and space relations.
Photoplay exercise: A photoplay consisting of 12 – 15 photographs. Student should demonstrate the ability to tell a simple story in images. Each image represents a shot in a silent movie and their order should be marked on the back side of the photographs. Each should capture a characteristic moment of the assumed shot regarding content and composition. If the content or composition of the shot changes significantly, 2 pictures are required – one representing the opening phase and the second one the closing phase (pictures should be marked 2, 2a, etc.) A simple plot outline should be attached to the photoplay – but it should of course be comprehensible without it too. Because the content, composition and structuring of the photoplay are assessed, it is required that the student takes the pictures by himself. It will be considered the rule of 180 degree.
Recommended or required reading
- Walter Murch: In the Blink of an Eye
Silman-James Pr; 2. revised edition (2001),
ISBN-10: 1879505622 | ISBN-13: 978-1879505629, 148 pages
- Ralph Rosenblum and Robert Karen - When the shooting stops...the cutting begins ISBN-10: 0306802724; ISBN-13: 978-0306802720
The Technique of Film Editing
Compiled by Karel Reisz, Gavin Millar Editioni llustrated Publisher Focal Press, 2010 ISBN 0240521854, 9780240521855 Length 346 pages
Assessment methods and criteria
Completion of a film and submitted explication
Schedule for winter semester 2019/2020:
Room No. 310
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Wed||09:00–12:15||Tomáš DORUŠKA||Room No. 310
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)