(Hi)story in Cinema

Garant předmětu:

Radim HLADÍK

Jméno vyučujícího (jména vyučujících):

Radim HLADÍK

Výsledky učení dané vzdělávací složky:

In terms of skills, this course is primarily focused not on filmmaking, but on developing academic expertise, such as scholarly reading comprehension, critical spectatorship and thinking, essay writing, and argumentation. However, on the substantive side, a student should learn about the issues of representation of the past by cinematic means. Although the course is not intended as training in practical filmmaking, it aspires to aid in facilitating the development of good filmmakers by fostering in-depth reflection on the possibilities of cinema as a storytelling medium. It will also stress the concomitant responsibility of filmmakers as historians - or historians as filmmakers.

Forma studia:

Seminar

Předpoklady a další požadavky:

None

Doporučené volitelné vzdělávací složky:

No

Obsah kurzu:

Scholars like Robert A. Rosenstone have pointed out that filmmakers often engage with the past much like academic historians do: they tell us stories about it. Feature films set in the past, i.e. the genre of historical films, may have fictional plots, yet they still render the past visually and their narratives provide frameworks for understanding it. In other words, with historical films, history is always a part of the story. In this course, we will examine the idea of cinema as a historiographic or memory medium in its own right. The course is structured so that in the first half of the semester the key notions addressing the cinema?s representational capacity for history are covered through theoretical readings. Students should learn how to use proper analytical vocabulary and identify core problems of historical films. In the second half of the semester, several of the notions will illustrate by examples of cinematic works. Critical spectatorship will be encouraged. Students are expected to apply the acquired theory to concrete issues of cinematic representation of the past.

Doporučená nebo povinná literatura:

Čornej, Petr (2000): A brief history of the Czech lands to 2000. Praha: Práh.

Nora, Pierre. „Between Memory and History“

Sorlin, Pierre. „How to Look at an 'Historical' Film.“

White, Hayden. „Historiography and Historiophoty.“

Jarvie, I.C. „Seeing Through Movies.“

Selections. Guynn, William. „Writing History in Film.“

Mainstream Drama. „Rosenstone, Robert A. History on Film/Film on History.“

Radstone, Susannah. „Trauma and screen studies: opening the debate.“

Enns, Anthony. „The politics of Ostalgie: post-socialist nostalgia in recent German film.“

Raack, R. C. „Historiography as Cinematography: A Prolegomenon to Film Work for Historians.“ Journal of Contemporary History, Marcus Alan S. and Stoddard, Jeremy D. (2006).

„The Burden of Historical Representation: Race, Freedom, and “Educational„ Hollywood Film“.

Plánované vzdělávací činnosti a výukové metody:

None

Hodnoticí metody a kritéria:

Attendance: Students are allowed to have two absences. Barring unforeseen circumstances, students should notify the instructor in advance. Exceptional circumstances will be considered, but additional work will be required.

Participation: Students will be expected to contribute to in-class discussions. Each student needs to prepare a brief class topic report once per semester.

Completion policy: To complete the course, a student must comply with the attendance and participation requirements and write a 2-3 pages-long paper on a course-related topic, such as an analysis of a historical film of their choice (a consultation is advisable) or a contemplation of the relation between history, memory, and cinema. The essay can also attempt to use the perspective of the course for a reflection on student's own project as a chapter for the final thesis.

Webová stránka předmětu:

Poznámka:

1. Introduction memory, history, cinema, representation as construction

2. Historians and historical films

Reading: Sorlin, Pierre. „How to Look at an 'Historical' Film.“ In Landy, Marcia. The Historical Film: History and Memory in Media. Piscataway: Rutgers University Press, 2000

3. Writing vs. showing (hi)story

Reading: White, Hayden. „Historiography and Historiophoty.“ The American Historical Review 93.5 (1988): 1193-1199. Jarvie, I.C. „Seeing Through Movies.“ Philosophy of the Social Sciences 8.4 (1978): 374-397. (Selections)

4. Research, costume drama, experiment

Reading: Rosen, Philip. Change Mummified: Cinema, Historicity, Theory. Minneapolis and London: University of Minnesota Press, 2001. (Selections)

5. Politics of historical films, nostalgia, trauma

Reading: Foucault, Michel. „Film and Popular Memory.“ In Foucault Live: Interviews, 1966-84, 89?106. New York: Semiotext(e), 1989.

6. Other uses: historiography, pedagogy

Reading: Raack, R. C. „Historiography as Cinematography: A Prolegomenon to Film Work for Historians.“ Journal of Contemporary History 18.3 (1983): 411-438. (Selections)

7. Useful inventions

Screening: Glory (Edward Zwick, 1989)

8. Historical character

Screening: Downfall (Oliver Hirschbiegel, 2004)

9. Reflexivity

Screening: Walker (Alex Cox, 1987)

10. Czechoslovak history: take one

Screening: Riders in the Sky (Jindřich Polák, 1968)

11. Czechoslovak history: take two

Screening: Dark Blue World (Jan Svěrák, 2001)

12. Final class: Review

Rozvrh na zimní semestr 2013/2014:

	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
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Datum	Den	Čas	Vyučující	Místo	Poznámky	Č. paralelky
		09:50–11:25		Učebna 7 Lažanský palác		přednášková par. 1

Rozvrh na letní semestr 2013/2014:

Rozvrh zatím není připraven

Předmět je součástí následujících studijních plánů:

• Cinema and Digital Media - Cinematography (oborový předmět)
• Cinema and Digital Media - Screenwriting (oborový předmět)
• Cinema and Digital Media - Directing (oborový předmět)