Film Style and Form 1
|311FSF1||ZK||3||4 hours (45 min) of instruction per week, 39 to 54 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
By the end of the course students will:
-adopt stylistic aspects of mise-en-scene in the history of world cinema
-describe the means of film style and form and how they present themselves
-interpret possible meanings of films or short extracts seen during the lectures
Mode of study
Prerequisites and co-requisites
The course will focus on the film style and form (FALL 2022: mise-en-scène, cinematography, editing; SPRING 2023: sound, narration) partly based on the readings of the book Film Art: An Introduction by David Bordwell and Kristin Thompson. We will discuss the means of film style and form and how they present themselves in a dozen of films from various epochs and countries. Disclosure of possible meanings and interpretation of them is the aim of the course.
During the sessions will be screened short extracts illustrating particular topics. Also, the students will watch the films in their entirety on their own. The discussions in which we can exchange the ideas and experiences are the important part of each lesson. Students should ask anything that is not clear enough, bring their own ideas and participate actively in the whole course.
NB “Film Form and Style” will be open also in Spring 2023, however, the focus of Spring term will be on sound and narration, therefore, the students may take the class both terms.
Recommended or required reading
REQUIRED READINGS (all readings will be available at Moodle) t
“Jonathan Amos, Paul Machliss ('Baby Driver' film editors): 'Every aspect integrated to the music'” (video) Available at https://www.youtube.com/watch?v=NF8U4vo-axc
David Bordwell – Kristin Thompson, Film Art. An Introduction. (International Edition.) McGraw-Hill, 2010.
Noel Burch, Theory of Film Practice. Princeton University Press 1981, pp. 17 – 31.
Shahla Haeri, “Sacred Canopy: Love and Sex under the Veil,” Iranian Studies 42, no. 1, 2009, pp. 113-126.
Julian Hanich, “Complex Staging. The Hidden Dimensions of Roy Andersson’s Aesthetics,” Movie – A Journal of Film Criticism 5, 2014, pp. 37 – 50.
Charles H. Harpole, “Ideological and Technological Determinism in Deep Space Cinema Images: Issues in Ideology, Technological History and Aesthetics,” Film Quarterly 33, no. 3 (Spring 1980), pp. 11-22.
Brian Henderson, “Toward a non-bourgeois camera style,” In Movies and Methods ed. by Bill Nichols. University of California Press 1976 (vol. 1), pp. 422–438.
Aleksandar Kušič, “The Neon Demon: Fashion, Beauty, and the Space of Absolute Danger,” January 2017. Available at: https://www.researchgate.net/publication/319527683_The_Neon_Demon_Fashion_Beauty_and_the_Space_of_Absolute_Danger
James Naremore, Acting in Cinema. University of California Press 1992, pp. 131–156.
Janey Place – Lowell Peterson, “Some Visual Motifs of Film Noir,” In Movies and Methods ed. by Bill Nichols. University of California Press 1976 (vol. 1), pp. 325–338.
Joan Ockman, “Architecture in a mode of distraction: Eight takes on Jacques Tati’s Playtime,” In Architecture and film, ed. by Mark Lamster, Princeton Architectural Press, 2000, pp. 171-196.
George Turner, “The Astonishing Images of I am Cuba,” American Cinematographer July 1995, pp. 77–82.
Assessment methods and criteria
The final grade will be calculated as follows: Class Attendance and Participation (25%); presentation (25%); midterm essay (25%); final test (25%)
This course is an elective for all students of this school
Schedule for winter semester 2022/2023:
Room No. 1
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared