First-Year Documentary Workshop 1

Subject guarantor:

Martin MAREČEK, Vít KLUSÁK

Name of lecturer(s):

Martin MAREČEK, Vít KLUSÁK

Learning outcomes of the course unit:

An implementation workshop focused on the creation of an original (documentary) film. The first semester serves for acquiring basic film skills, checking motivation, searching for a theme, and creating the script. The focus of the second semester is intensive consultation on shooting and editing the film. The purpose of the course is to guide student in the process of the generation of a work and primarily to stimulate the development of their own film language.

Mode of study:

All participants are asked to at least a desire for discussion. Students, future (documentary) film creators - should develop their creative personality - be brimming with ideas, present topics, drive discussion and developed themselves personally. In completing their Summary film, each will, of course, defend: WHAT they will shoot, - WHY they will shoot it, - HOW they will shoot it.

Moderated discussions, Dramaturgical analyses of literary bases - subject and screenplay, dramaturgical analyses of reconnaissance, dramaturgy of the edited version. Analyses of examples from the films of previous Documentary Dept.students. Comparison of literary bases and finished works.

Prerequisites and co-requisites:

Desire to discuss is required of all participants. Students - future originators of (documentary) films - should develop their creative personality = bubble over with ideas, present topics, drive discussion and individually develop oneself. In the implementation of their summary film, each sensibly defends; WHAT they will shoot.- WHY they will shoot it. - HOW it will be shot.

Recommended optional programme components:

Inspection - photograpy or video and audio from a location or event for shooting. Independent preparations - individual assignment of detailed exercises in the selected genres.

Course contents:

- The workshop is a meeting. A process of mutual cultivation. Offense and defense, thought and empathy. The workshop is a place of constant activity but with appropriate pauses for intensive reactions. Risk and security.

The limits of the workshop are alterable.

- The workshop is a playground. An open interplay and battle. The workshop is the place for investigating playing (creative) positions. For example, from the original position to be able to step out and in exercises take on a different one. Interplay is a responsible encounter. A good player doesn't play only for themself.

The author should be the authority.

- The workshop is an encounter. A conversation about the common. A confirmation of internal motivations for creation. A consideration of the reasons and potential significance of a work in societal relations. Reflections on topics in the prepared film.

Is (Will) the creator's activity (be) convincing?

- The workshop is a servis. An investigation of the concrete. Development of one's personal film language. Surveying possible viewpoints. A checking of style and the scale of its rules.

Expansion of media literacy and interpretation sensitivities.

The right question for the right answer.

- The workshop is not dogma. A provocation of inspiration. Those present are not assuring their uniqueness but are mutually critically stimulated. Creative self-discipline should not lead to complacet careerism. The workshop should not become a closed sect - a school of a single language.

Originality does not guarantee individuality.

Recommended or required reading:

Film literature:

Bazin, André : Co je to film?; Československý filmový ústav; Praha; 1979

Bresson, Robert: Poznámky o kinematografu; Dauphin; Praha; 1998

Carriére, Jean-Claude: Vyprávět příběh; NFA; Praha; 1995

Drvota, Mojmír: Základní složky filmu; NFA; Praha; 1994

Ejzenštejn, Sergej: O stavbě uměleckého díla; Československý spisovatel, Praha, 1963

Epstein, Jean: Poetika obrazů; Hermann & synové; Praha; 1997

Gauthier, Guy: Dokumentární film, jiná kinematografie; AMU a Ji hlava; Praha; 2004

Gogola ml., Jan: Smrt dokumentárnímu filmu! Ať žije film! Od díla k dění!; Dipl. pr. FAMU; 2001

Monaco, James: Jak číst film; Albatros ; Praha; 2004

Nichols, Bill: Úvod do dokumentárního filmu; AMU; Praha; 2010

Truffaut, Francois: Rozhovory Hitchcock- Truffaut; ČSFÚ; Praha; 1987

Ulver, Stanislav: Západní filmová avantgarda; ČFÚ; Praha; 1991

Worth, Sol: Obrazy nemohou říkat ne; in: Sborník filmové teorie I; ČFÚ; 1991

Barthes, Roland: Světlá komora - vysvětlivka k fotografii; Archa; Bratislava; 1994

Bernard, Jan: Jazyk, kinematografie, komunikace; NFA; Praha; 1995

Blažek, Bohuslav: TVáří TVář k obrazovce; SLON; Praha; 1995

Deleuze, Gilles: Obraz-pohyb; NFA; Praha; 2000

Eco, Umberto: Mysl a smysl; Nadace Vize; Praha; 2000

Flusser, Vilém: Do univerza technických obrazů; OSVU; Praha; 2001

Foucault, Michel: Diskurs, autor, genealogie; Svoboda; Praha; 1994

McLuhan, Marshall: Jak rozumět médiím; Odeon; Praha; 1991

Sontágová, Susan: O fotografii; Paseka; Praha; 2002

Virilio, Paul: Informatická bomba; Pavel Mervart; 2004

Sborník; kolektiv autorů: Média a realita; FSS MU; Brno; 2001

Planned learning activities and teaching methods:

Intensive analysis discussion of individual steps toward creating a film.

Assessment methods and criteria:

Credit is awarded based on:

- comprehensive participation during group discussions - preparations for the summary films

- completion of all literary bases for the prepared films

- on-going presentations of shooting material

- final presentation of completed edits of individual films.

Course web page:

Note:

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Dokumentární tvorba - bakalář (qualification subject)