Critique and Stylistics Seminar 2

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
373SKS2 ZK 2 2T Czech summer

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

The course aim is the development of student analytic and stylistic skills as well as a general consideration of the purpose and types writings on art.

Mode of study

Classes.

Prerequisites and co-requisites

This course requires students have a basic acquaintance with methods of analysing audio-visual pieces. The class continues the course Critique and Stylistics I, but may be attended without its completion.

Course contents

This course focuses on refining views and forming opinions on various events in contemporary art. The central concept of style is discussed in a general and individual sense. The course is also a mutual clarification of the concepts of taste, authority, authenticity, mistake and error. During the course students write a variety of texts, usually in realtion to their own creative work. Studens present a paper on an assigned text.

Class topics:

  1. Introduction - various types of writings about film (11.2.2019)
  2. Paratexts // annotations (18.2.2019)
  3. Original work // interview (25.2.2019)
  4. Discussions about written texts (4.3.2019)
  5. Style and form - survey of approaches (11.3.2019)
  6. Form (structuralism, neoformalism) // analysis (18.3.2019)
  7. Form (radical formalism) // analysis (25.3.2019)
  8. Discussion about written texts (1.4.2019)
  9. No class
  10. Critique and interpretation - survey of approaches (15.4.2019)
  11. Critique (22.4.2019)
  12. Essay (29.4.2019)
  13. Discussion about written texts (6.5.2019)

Recommended or required reading

BORDWELL, David; THOMPSONOVÁ, Kristin. Umění filmu. Úvod do studia formy a stylu. Praha: NAMU, 2018.

BRENEZOVÁ, Nicole. Dopis Tagu Gallagharovi. Pohled na film z figurálního hlediska. Iluminace 2005, č. 1, s. 25-41.

BRINKEMA, Eugenie. The Forms of Affect. Durham and London: Duke University Press.

Corrigan, Timothy: The Essay Film. From Montaigne, after Marker. Oxford University Press 2011.

ECO, Umberto. Interpretácia a nadinterpretácia. Bratislava: Archa 1995.

ECO, Umberto. Meze interpretace. Praha: Univerzita Karlova 2004.

GENETTE, Gerald. Paratexts. At the treshold of interpretation. Cambridge: Cambridge University Press 1997.

GOODMAN, Nelson. Způsoby světatvorby. Bratislava: Archa 1996.

MUKAŘOVSKÝ, Jan. „Záměrnost a nezáměrnost v umění“ IN Studie [I].Brno: Host, 2000, s. 353–388.

MUKAŘOVSKÝ, Jan. „Pokus o strukturní rozbor hereckého zjevu. Chaplin ve Světlech velkoměsta“ IN Studie [I]. Brno: Host, 2000, s. 463–472.

MUKAŘOVSKÝ, Jan. „Varianty a stylistika“ IN Studie [II]. Brno: Host, 2001, s. 215-219.

NICHOLS, Bill. Úvod do dokumentárního filmu. Praha: NAMU, 2010.

RICOEUR, Paul. Teória interpretácie: diskurz a prebytok významu. Bratislava: Archa 1997.

SONTAGOVÁ, Susan. Proti interpretaci. Kritický sborník 1994, č. 3, s. 1-7.

THOMPSONOVÁ, Kristin. Neoformalistická filmová analýza: jeden přístup, mnoho metod. Iluminace 1998, č. 1, s. 5-36.

TODOROV, Tzvetan. Symbolism and interpretation. London 1973.

TRINH, Minh-ha. Cinema Interval. Routledge, 1999.

Assessment methods and criteria

Students are graded based equally on class participation, originality, and sophistication of their writing.

Note

This course is scheduled once every two years. It is focused on refining viewpoints and the forming of opinions on contemporary art. The result is an investigation of the ontology (artistic) of the piece. The central idea of style is covered in a general and individual sense. The course also covers explanation discussions on concepts such as taste, authority, authenticity, errors and mistakes - and their content in objective and subjective dimensions. During the course students write brief papers on assigned topics.

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans