Thoughts on the Invention of Film 2

Subject guarantor:

Miroslav PETŘÍČEK

Name of lecturer(s):

Miroslav PETŘÍČEK

Learning outcomes of the course unit:

Inter-disicpline as a manner of consideration which enables the search for relationships among various areas without attempting to researching phenomena and reducing them to a minimal common denominator.

Mode of study:

Lecture, discussion, essay and text analyses.

Prerequisites and co-requisites:

Provided by the lecturer

Recommended optional programme components:

Course contents:

Thought after the invention of film: A wider context of theory considerations related to the technical image; philosophical research of time, narration and movement. Phenomenology and its limits (concept of event, discontinuity and simultaneity). Relations among various media (film, literature, graphic arts) and between technology and culture.

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Fundamental issue: What exists before the story and narrative? The concept of events in Philosophy in the second half of the 20th century does not only depend on time, rather directly with the material of reality itself. Therefore the question after story and narrative aims directly to Ontology. The overall research is photography and film, that is, the photography of film (index and icon), therefore it is possible to confirm to what extent a film is a narration and stops being a film (Sean Cubitt). Through an analysis of film it is possible to penetrate into the conditions for the potential of film and narration. This is dependent on the concept of text and discurse which appears not only in semiology but also in philosophy.

Course aim: Not just an introduction to contemporary though but rather active work with this thought and its concepts, experimenting with the borders which needlessly separate fields.

Recommended or required reading:

Giorgio AGAMBEN, Infancy and History. On the Destruction of Experience. Verso, London New York, 2007.

Giorgio AGAMBEN, Prostředky bez účelu. Poznámky o politice, Přel. Naděžda Bonaventurová. Sociologické nakladatelství Praha, 2003.

Derek ATTRIDGE, „Derrida and the Questioning of Literature“, in: Jacques DERRIDA, Acts of Literature. Ed. by Derek Attridge, Routledge, New York, London 1992.

Noël BURCH, La Lucarne de l´infini. Naissance du langage cinématographique. Paris, Nathan 1990.

Noël CARROLL, Jinhee CHOI (eds.), Philosophy of Film and Motion Pictures, Blackwell 2006

Dorrit COHN, Distinction of Fiction, John Hopkins UP, Baltimore, 1998. (Čes. překl. Dorrit COHNOVÁ, Co dělá fikci fikcí. Přel. M. Orálek a V. Klusíková, Academia, Praha 2009.

Sean CUBITT, The Cinema Effect. The MIT Press, Cambridge, Massachusetts, 2005.

Mark CURRIE, About Time. Narrative, Fiction and the Philosophy of Time. Edinburgh University Press, 2007.

Georges DIDI-HUBERMAN, La ressemblance par contact. Archéologie, anachronisme et modernité de l'empreinte, Ed. de Minuit, Paris 2008

Carlo GINSBURG, Spurensicherung. Die Wissenschaft auf der Suche nach sich selbst. Wagenbach, Berlin 2002

Edmund HUSSERL, Späte Texte über Zeitkonstitution (1929-1934). Die C-Manuskripte. Hrsg. von Dieter Lohmar, Husserliana Materialien Bd. VIII, Springer 2006.

Milan JANKOVIČ, Dílo v pohybu, Academia 2009.

Siegfried KRACAUER, Theory of Film. The Redemption of Physical Reality, Princeton 1997

Jurij M. LOTMAN, Semiotika filmu a problémy filmovej estetiky, Slovenský filmový ústav, Bratislava 2008.

Charles Sanders PEIRCE, Collected Papers of Ch.S. Peirce, I.-VI, ed. by Ch. Harsthorne and P. Weis. Harvaŕd U.P., Cambridge Mass. 1931-35; VII.-VIII. ed. by A.W. Burks, Harvaŕd U.P., Cambridge Mass. 1958.

Claude ROMANO, L'événement et le monde, Presses Universitaires de France, 1998.

Claude ROMANO, L'événement et le temps, Presses Universitaires de France, Paris 1999.

Claude ROMANO, Il y a, Presses Universitaires de France, Paris 2003.

Alfred North WHITEHEAD, Process and Reality

Planned learning activities and teaching methods:

Assessment methods and criteria:

Final essay on a topic related to lecture content.

Course web page:

Note:

Further information:

This course is an elective for all AMU students

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
Tue
Fri	místnost () PETŘÍČEK M. 12:30–14:00 (přednášková par. 1)
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Fri	12:30–14:00	PETŘÍČEK M.			přednášková par. 1

The subject is a part of the following study plans:

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