Open Narration in Technologically Innovative Media 2

Subject guarantor:

Eric ROSENZVEIG, Tomáš DORUŠKA

Name of lecturer(s):

Eric ROSENZVEIG, Tomáš DORUŠKA

Learning outcomes of the course unit:

To introduce student to the potential of interactive narration - Expanding narrative.

Mode of study:

Readings, lecture, moderated discussion, discussions, media recording sample analyses, text analyses, essays, contact instruction of study comparisons, screenings, External writer lectures.

Prerequisites and co-requisites:

Intended for Bachelor of Arts degreed students. This course is linked to the workshop where Baccalaureate knowledge is used.

Recommended optional programme components:

Potential to include one's project in the database from which it originates in the creation of a multi-layer narration.

Course contents:

Lecture list:

Each lecture refers to relevant literature and uses sound and image examples. A part of each lecture is student presentation practice.

The net in contemporary media theory and hierarchical structure, history of hyperreference, related basic computer equipment and concepts.

History of Non-linear Film 1 - examples, DVD screenings, interactive projects and the internet

History of Non-linear Film 2 - examples, DVD screenings, interactive projects and the internet

Database basic concepts - development and use of a database for media objects, the concept of a file, orthogonality, accessibility, data formats, analysis, automation, associative searches.

Metadata - text and visual representations of media objects for the creator and audience.

Coincidence and authorization - original approach to building structures, use of coincidence and the influence of coincidence (artificial intelligence, artificial life), Control of a work by the viewer, concept of mediation.

Guest lecturer for new narrative structures 1 - temporariness and narrative length.

Guest lecturer for new narrative structures 2.

User and creator playing, tools and functions for organizing sound and image material.

Extensive narration and conditioned (rule-based) figure development.

Guest lecturer for the opening of narrative structures - narration theory, organization of significant elements for narrative in a digital space, difference between diverging and comlplex structures.

Characters, props, shooting preparations in conditioned non-linear narration.

Google.com and other commercial tools. Analysis of existing systems for non-linear narration (Google, Korsakow system, playListNetWork...)

Types of depiction equipment, image size - adaptablility of an image to a scale.

User playing for text and graphics - audience navigation in multi-channel screenings.

Lateral thinking, parallel narrative channels, links.

Point-of-view, narrative skills of the camera, classification of shots.

Composition linking, representative key fields. Technical transitions between channels and navigation techniques using text and image.

The role of the composer and sound designer in uniting disparate material.

Guest lecturer on Narrative theory.

Broadening traditional distribution channels, transmediality, narration in various media.

Guest lecturer on post-synchronization and subtitling. Classification of subtitles, use of text.

For foreign films: plays, RPG, mixed and augmented reality, interactive instalations and other trends.

Final project - Workshop 1

Final project - Workshop 2

Final project - Workshop 3

Recommended or required reading:

Gaston Bachelard, Poetika prostoru, Malvern, 2009

Jeffrey Shaw and Peter Weibel, Future Cinema: The Cinematic Imaginary After Film, MIT Press, 2003

Pat Harrigan and Noah Wardrip-Fruin (Eds.), Third Person: Authoring and Exploring Vast Narratives, MIT Press, 2009

Rieser, Martin and Zapp, Andrea (Eds.), New Screen Media: Cinema /Ar t/Narrative, bfi Publishing, 2002

Bushoff, Brunhild (Ed.) Developing Interactive Narrative Content, (sagas_sagasnet_reader) High Text, 2005

Janine Marchessault and Susan Lord (Eds.), Fluid Screens, Expanded Cinema (Digital Futures), U. of Toronto Press, 2008

George Landow, Hypermedia 3.0, Critical Theory and New Media in an Era of Globalization, John Hopkins University Press, 2006

Planned learning activities and teaching methods:

Lecture, exercises, classes

Assessment methods and criteria:

Active 80% participation in lectures. A concept of one's original work using open narrative principles.

Course web page:

Note:

Further information:

This course is an elective for all students of this school

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon	místnost 423 Učebna CAS (Lažanský palác) DORUŠKA T. 15:40–17:15 (přednášková par. 1)
Tue
Fri
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Mon	15:40–17:15	DORUŠKA T.	Učebna CAS Lažanský palác		přednášková par. 1

The subject is a part of the following study plans:

• Animovaná tvorba - bakalář (optional subject)
• Dokumentární tvorba - magistr (optional subject)
• Dokumentární tvorba - bakalář (optional subject)
• Animovaná tvorba - magistr (optional subject)
• Scenáristika a dramaturgie - bakalář (optional subject)
• Scenáristika a dramaturgie - magistr (optional subject)
• Režie - bakalář (optional subject)
• Režie - magistr (optional subject)
• Kamera - bakalář (optional subject)
• Kamera - magistr (optional subject)
• Produkce - bakalář (optional subject)
• Produkce - magistr (optional subject)
• Audiovizuální studia - bakalář (qualification subject, optional subject)
• Střihová skladba - bakalář (optional subject)
• Střihová skladba - magistr (optional subject)
• Zvuková tvorba - bakalář (optional subject)
• Zvuková tvorba - magistr (optional subject)
• Fotografie CZ - bakalář (optional subject)
• Fotografie CZ - magistr (optional subject)
• Audiovizuální studia - magistr (qualification subject, optional subject)
• Fotografie CZ: Restaurování fotografie (optional subject)