Montage workshop 4
Subject is not scheduled Not scheduled
|306MW4||Z||4||52 hours (45 min) of instruction per semester, 61 to 81 hours of self-study||English||summer|
Name of lecturer(s)
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.
We prefer working individually with each student since we believe every student to be a special individual and everyone will be working with a material marked by a different personality of its maker (the director). Therefore, each material presents different problems in its form. Of course, the works presented in the seminars allow for generalizations, f. e. the differences in editing of a documentary or a feature film, the rhythm or pacing, orchestral composition of the audio component, work with music, dramaturgical composion etc. The knowledge of this is valuable to all students regardless of their year of study. To demonstrate, we can use selected video sequences on tapes.
•Reading and evaluating the video materials in a documentary
•Use of special effects in a documentary
•Metaphor and symbol in a feature film
•Projection of tapes with analysis
•Specifics of scripts for documentaries
•Confrontation of scripts with final films
•Measure of author’s influences on a documentary
•Documentary as an essay, questionnaire, reconstruction, mystification
•Real time and objectivity in documentaries
•Differences in the use of music in documentaries and feature films
•Influences between documentaries and feature films
•Composition of a documentary – finding connections and context
•Dangers of manipulation
Recommended or required reading
Theory of the Film: Character and Growth of a New Art
by Béla Balázs
Publisher: Dover Publications (1970)
Writings, 1934-1947: Sergei Eisenstein Selected Works, Volume 3 Reprint Edition
by Sergei M. Eisenstein (Author), Richard Taylor (Editor)
Assessment methods and criteria
Completion of a film and submitted explication
No schedule has been prepared for this course
The subject is a part of the following study plans
- Montage_2020 (required main subject)