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Subject is not scheduled Not scheduled
Code Completion Credits Range Language Instruction Semester
373NCV Z 2 2/T Czech summer
Subject guarantor:
Name of lecturer(s):
Learning outcomes of the course unit:

The lecture has the aim to guides students in the issues of narratology and to map the changes which narration has gone through in the last twenty years in film, television and computer games.

Mode of study:

Lecture is supplemented by examples from the discussed works.

Prerequisites and co-requisites:

Some examples will be in English but the course may be completed without knowledge of English.

Recommended optional programme components:

None

Course contents:

In this course is first a general introduction to narration research, Narratlogy - its history, basic concepts and manners of use in the analysis of an audiovisual piece. Easily understood is also Fictional world theory, cognitivism and semio-pragmatics as other useful models of narration researching. A key question which we will research in lecture is the changes narration has undergone throughout the 20th century in various media (television, film and computer games). Interesting will also be how much the narration styles found in these media mutually influence each other. In television we will cover, primarily, new era series and reality shows, (Dexter, Homeland, Alia, Firefly, and others.) in cinema, various types of „riddle“ or complex narratives (Shyamalan, Nolan, Jonze, and others) and in computer games, among others, how a narration may be linked to interactivity, with moral choices by the player, etc.

Recommended or required reading:

ABBOTT, H. Porter. Garden Paths and Ineffable Effects: Abandoning Representation in Literature and Film. In Aldama, Frederic Luís (ed.). Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.

ALDAMA, Frederic Luís (ed.). Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.

ALEXANDER, Bryan. The New Digital Storytelling. Creating Narratives with New Media. Praeger: Santa Barbara, 2011.

ALLRATH, Gaby; GYMNICH, Marion. Narrative Strategies in Television Series. Palgrave Macmillan, 2006.

BAL, Mieke. Narratology. Introduction to the theory of narrative. University of Toronto Press Incorporated, 1997.

BOOKER, M. Keith. Postmodern Hollywood: What´s New in Cinema and Why It Makes Us Feel So strange. Praeger Publishers: Westport, 2007.

BORDWELL, David. Narration in the Fiction Film. University of Wisconsin Press, 1985.

BORDWELL, David. The Way Hollywood Tells It. Story and Style in Modern Movies. University of California Press: Berkeley, 2006.

BORDWELL, David. Three Dimensions of Film Narrative. In Bordwell, David (ed.). Poetics of Cinema. New York ? London: Routledge, 2008, s. 85-133.

BRANIGHAN, Edward. Point of View in the Cinema. Mouton de Gruyter, 1984.

BOYD, Brian. On the origins of stories. Evolution, cognition and fiction. Evolution, Cognition, and Fiction. Harvard University Press, 2009.

BUCKLAND, Warren (ed.). Film Theory and Contemporary Hollywood Movies. Routledge: New York, London, 2009.

BUCKLAND, Warren (ed.). Puzzle Films. Complex Storytelling in Contemporary Cinema. Wiley-Blackwell, 2009.

BRUNER, Jerome. The Narrative Construction of Reality. Critical Inquiry, 1991, č. 1, roč. 18, s. 1-21.

DOLEŽEL, Lubomír. Heterocosmica. Fikce a možné světy. Karolinum: Praha, 2003.

EBERL, Jason T. Battlestar Galactica and Philosophy. Blackwell Publishing, 2008.

ECO, Umberto. Meze interpretace. Karolinum: Praha, 2004.

ESSANY, Michael. Reality Check. The Bussiness and Art of Producing Reality TV. Focal Press, 2008.

GAUDREAULT, André. From Plato to Lumiere. Narration and Monstration in Literature and Film. University of Toronto Press: Toronto, 2009.

GAUDREAULT, André; JOST, Francois. Le Récit cinématographique. Nathan: Paris, 2000.

HAGEBOLLING, Heide (ed.). Interactive Dramaturgies. New Approaches in Multimedia Content and Design. Springer: 2004.

HAMMOND, Michael; MAZDON, Lucy (eds.). Contemporary Television Series. Edinburgh University Press, 2007.

HERMAN, David. Basic Elements of Narrative. Wiley-Blackwell: Malden, Oxford, 2009.

HERMAN, David. Narratology as a cognitive science. Image and Narrative, 2000, č. 1. Online: http://www.imageandnarrative.be/inarchive/narratology/davidherman.htm [1.1.2013]

CHATMAN, Seymour. Dohodnuté termíny. Rétorika narativu ve fikci a ve filmu. Univerzita Palackého: Olomouc, 2000.

JENKINS, Henry. Convergence Culture. Where Old and New Media Collide. New York University Press: New York, London, 2006.

KACKMAN, Michael; BINFIELD, Marnie; PAYNE, Matthew Thomas; PERLMAN, Allison; SEBOK, Bryan (eds.). Flow TV. Television in the age of convergence. Routledge: London, New York, 2011.

KEEN, Suzanne. Narrative Empathy. In Aldama, Frederic Luís (ed.). Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.

KOKEŠ, Radomír D. Teorie seriálové fikce: model analýzy vyprávění a fikčních světů televizního seriálu. Diplomová práce. Masarykova univerzita: Brno, 2010.

KOTSKO, Adam. Why We Love Sociopats? A Guide to Late Capitalist Television. Zero Books: Winchester, 2012.

LAVERY, David; BURKHEAD, Cynthia. Joss Whedon. Conversations. University Press of Mississippi: Jackson, 2011.

LAVERY, David (ed.). Reading the Sopranos. I.B. Taurus: London, New York, 2006.

LINDENBERG, Herbert. Arts in the Brain; or, What Might Neuroscience Tell Us? In Aldama, Frederic Luís (ed.). Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.

The Living Handbook of Narratology. Online: http://hup.sub.uni-hamburg.de/lhn/index.php/Contents [1.1.2013]

MCCABE, Janet; AKASS, Kim (eds.). Quality Tv. Contemporary American Television and Beyond. I.B. Taurus: London, New York, 2007.

MICHALOVIČ, Peter; MINÁR, Pavol. Úvod do štrukturalismu a postštrukturalismu. Iris: Bratislava, 1997.

MITTELL, Jason. Complex TV. The Poetics of Contemporary Television Storytelling. Dosud nevydáno. Online: http://mediacommons.futureofthebook.org/mcpress/complextelevision/ [27.10.2012].

MITTELL, Jason. Haunted by Seriality: The Formal Uncanny of Mulholland Drive. Online: http://justtv.wordpress.com/2013/01/03/haunted-by-seriality-the-formal-uncanny-of-mulholland-drive/ [3.1.2012].

ODIN, Roger. De la Fiction. Bruxelles, 2000.

ORLEBAR, Jeremy. Kniha o televizi. NAMU: Praha, 2012.

PEACOCK, Steven (ed.). Reading 24. TV against the Clock. I.B. Taurus: London, New York, 2007.

PHELAN, James; RABINOWITZ, Peter J. (eds.). A Companion to Narrative Theory. Blackwell Publishing, 2005.

PRAKS, Vítězslav. Computerová naratologie. 2010.

RIMMON-KENNANOVÁ, Shlomith. Poetika vyprávění. Brno: Host, 2001.

RYAN, Marie-Laure. Avatars of Story. University of Minnesota Press, 2006.

SHIMPACH, Shawn. Television in Transition: The Life and Afterlife of the Narrative Action Hero. Wiley-Blackwell, 2010.

SCHACTER, Daniel. Sedm hříchů paměti: jak si pamatujeme a zapomínáme. Paseka: Praha, 2003.

SCHIFFRIN, Deborah; DE FINA, Anna; NYLUND, Anastasia (eds.). Telling stories: language, narrative, and social life. Georgetown University Press: Washington, 2010.

SMITH, Murray. Engaging Characters. Fiction, Emotion, and the Cinema. Oxford: Clarendon Press, 1995.

SPOLSKY, Ellen. Narrative as Nourishment. In Aldama, Frederic Luís (ed.). Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.

STAM, Robert. Reflexivity in Film an Literature. UMI Press, 1985.

STEWART, Garret. Framed Time. Toward a Postfilmic Cinema. University of Chicago Press: Chicago, London, 2007.

STODDART, Scott F. (ed.). Analyzing Mad Men. McFerland: Jefferson, London, 2011.

ZUNSHINE, Lisa. Theory of Mind and Michael Fried?s Absorption and Theatricality: Notes toward Cognitive Historicism. In Aldama, Frederic Luís (ed.). Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.

Planned learning activities and teaching methods:

Lectures

Assessment methods and criteria:

Credit will be awarded either based on written analyses of 5 standard pages (1 standard page = 1800 characters including spaces) or a verbal exam of the covered material. Students may choose. Those who select written analyses are to write an analysis of a general phenomenon related to the changes in narration in the last 20 years, or a narrative analysis of one piece (series, play, etc.)

Course web page:
Note:

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Further information:
No schedule has been prepared for this course
The subject is a part of the following study plans:
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