Film Language 3
Name of lecturer(s)
Learning outcomes of the course unit
By the end of the course students will:
-learn how to various tools for preparation of the film production
-learn how to use various narrative tools to express their story
-learn how to creatively apply various acting styles
-learn of the creative use of sound dramaturgy
Mode of study
Prerequisites and co-requisites
This course aims to teach students not just what is it about but HOW is it about. The course covers following topics:
form – the shift from the literary screenplay to the technical script – deciding the tempo, shot length, seeking a modus operandi for composition and camera movement.
how the literary script can be used to describe the time and the silence that I want to include in my narrative? How can I use ellipsis to involve the viewer more? How can “sculpting in time” help me express the innermost psychological changes in my characters? How can I go beyond literalism that binds me to descriptiveness, causalities and psychologizing? How can I create intensity in place of causality? Visuals, storyboard, moodboard, graphic novel, teaser?
acting style – guiding actors in relation to composition and camera movement, the rhythm of dialogues in relation to the size of the shot, to camera movement, and to editing. Determining the style of acting.
the sound concept – the director’s concept of the sound components should already be thought out at the literary script stage (sound style, sync sound versus post-sync; dialogues and sound effects, their interaction and rhythm; determining the foreground and middle ground).
Recommended or required reading
BACHELARD, Gaston. The Poetics of Space. [7th ed.] New York: Penguin Books, 2014. xxx, 268 s. ISBN 9780143107521.
BACHELARD, Gaston. La poétique de la rêverie. 3. ed. Paris: Press universitaires de France, 1965. 183 s.
KATZ, Steven D (Steven Douglas). Film directing shot by shot : visualizing from concept to screen. [1st ed.]. Studio City, CA: Michael Wiese Productions in conjunction with Focal Press, 1991. xi, 366 s. ISBN 0-941188-10-8.
SHERMAN, Eric. Directing the film : film directors on their art. Los Angeles: Acrobat Books, 1976. xxx, 352 stran. ISBN 0-918226-15-5.
BORDWELL, David. Figures Traced in Light. Berkeley: Univ. of California Press, 2008. XII, 314 s.
Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg. Ed. Katharina HENKEL. Emden: Kunsthalle Emden, 2012. 191 s. ISBN 9783866787247.
ROY, Rajendra, LEWEKE, Anke: The Berlin School: films from the Berliner Schule. New York: Museum of Modern Art, 2013. 112 s.
Berlin School, Romanian new wave, French new extremity, Taiwanese new wave, Argentinian new cinema, etc.
Visuals, work with space, painters, architects:
Daniel Pitín, Vilhelm Hammershoi, Edward Hopper, Andrew Wyeth, Luca Servino, László Rajk, etc.
Assessment methods and criteria
Minimum required attendance to the class is + 70%
Pass grade is based on the the active participation in guided and non-guided discussions.
The course grade will be calculated as follows:
Attendance - 30%
Participation in the class - 70%
Schedule for winter semester 2021/2022:
The schedule has not yet been prepared
Schedule for summer semester 2021/2022:
once in 2 weeks, start Feb 17, room 133
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Thu||10:40–12:15||Václav KADRNKA||once in 2 weeks, start Feb 17, room 133||parallel1|