Seminar on Audiovisual Analysis

Subject guarantor:

Name of lecturer(s):

Learning outcomes of the course unit:

Exercises in analytical skills and reflection upon a Critic's work.

Mode of study:

This course places emphasis on practice, which is trying individual types and genres of analytical writing. The first three weeks of the semester, each student writes each week a short one page paper. Then each selects two or three types of texts which are submitted by a given due date. There are group discussions about individual papers.

Prerequisites and co-requisites:

Ability to read English texts.

Recommended optional programme components:

Nejsou žádné nepovinné složky nutné pro absolvování tohoto předmětu.

Course contents:

This course of audio-visual analysis is combined with a consideration of the basic types and issues of audio-visual analysis with exercises of analytical skills.

Curriculum:

1. Introductory discussion over the methods and history of analysis and interpretation.

2. Analysis of foreign texts with a layout of the basic elements and writing conventions (Readings: Bordwell, David. Making Meaning. Inference and Rhetoric in the Interpretation of Cinema. Harvard University Press 1989, s. 1-18. (Chapter 1))

3. Issues regarding criteria and reasoning in evaluating an artistic work (Readings: Kulka, Tomáš. Umění a kýč. Torst: Praha 2000, s. 64-80)

4. Content (and Surface) Issues (Readings:Sontagová, Susan: Proti interpretaci. Kritický sborník 1994, č. 3, s. 1-7)

5. Thematic Interpretation

6. Intertextual analysis - categorizing a work in the history of art (inspirational example: Ondřej Hauser: Hulk. Cinepur 2005, č. 41)

7. Ideological analysis (inspirational example:Zdeněk Holý: Mladí a otevření. Nad antihomosexuální ideologií Šeptej. Cinepur 2003, č. 30 (listopad))

8. Historical analysis (film as a reflection of the time) (inspirational example: Lucie Česálková: Normalizační film na čtyřech kolech. Cinepur 2004, č. 31 (leden).; Kamil Fila: Konec hypertrofické éry. Cinepur 2004, č. 34 (červenec))

9. Self-reflection of film in film (film as an allegory of film practice) (inspirational example: Lucie Česálková: Úžasňákovi. Cinepur 2005, č. 41)

10. Analysis of the reception by the audience (what feedback the material can receive from the audience (and/or a critic) for example on servers such as www.csfd.cz, www.rottentomatoes.com)

11. Analysis of television programs

12. Analysis of experimental film

Recommended or required reading:

Recommended:

AUMONT, Jacques; MARIE, Michel. L´analyse des films. Paris: Nathan 1998.

BRENEZOVÁ, Nicole. Dopis Tagu Gallagharovi. Pohled na film z figurálního hlediska. Iluminace 2005, č. 1, s. 25-41.

BÍLEK, Petr A. Hledání jazyka interpretace. Brno: Host 2003.

BORDWELL, David; THOMPSON, Kristin. Film Art: an Introduction. New York: McGraw Hill 2000.

BORDWELL, David. Making meaning. Inference and rhetoric in the Interpretation of Cinema. Cambridge: Harvard University Press 1989.

ECO, Umberto. Interpretácia a nadinterpretácia. Bratislava: Archa 1995.

ECO, Umberto. Meze interpretace. Praha: Univerzita Karlova 2004.

GRODIN, Jean. Úvod do hermeneutiky. Praha 1997

JOLY, Martine. L´image et son interpretation. Paris: Nathan 2002.

KULKA, Tomáš. Umění a kýč. Torst: Praha 2000.

RICOEUR, Paul. Teória interpretácie: diskurz a prebytok významu. Bratislava: Archa 1997.

SONTAGOVÁ, Susan. Proti interpretaci. Kritický sborník 1994, č. 3, s. 1-7.

TODOROV, Tzvetan. Symbolism and interpretation. London 1973.

THOMPSONOVÁ, Kristin. Neoformalistická filmová analýza: jeden přístup, mnoho metod. Iluminace 1998, č. 1, s. 5-36.

VANOYE, Francis; GOLIOT-LÉTÉ Anne. Précis d'analyse filmique. Paris: Nathan Université 1992.

ŠANDEROVÁ, Jadwiga. Jak číst a psát odborný text ve společenských vědách: několik zásad pro začátečníky. Praha: Sociologické nakladatelství 2005.

Planned learning activities and teaching methods:

seminář

Assessment methods and criteria:

Kredity za seminář jsou uděleny na základě odevzdání všech požadovaných textů a aktivní účasti na seminářích. Při známkování se zohledňuje i kvalita odevzdaných textů (více než „talent“ je nicméně oceňována snaha a pečlivost, s níž jsou texty napsány).

Course web page:

Note:

This course takes places once every two years. It is registered for the 2014-2015 study year.

Further information:

No schedule has been prepared for this course

The subject is a part of the following study plans:

• Animation - Master (faculty subject, optional subject)
• Documentary Film - Master (optional subject)
• Documentary Film - Bachelor (faculty subject, optional subject)
• Animation - Master (optional subject)
• Scriptwriting and Dramaturgy - Bachelor (faculty subject, optional subject)
• Scriptwriting and Dramaturgy - Master (optional subject)
• Film Directing - Bachelor (faculty subject, optional subject)
• Film Directing - Master (optional subject)
• Cinematography - Bachelor (faculty subject, optional subject)
• Cinematography - Master (optional subject)
• Production - Bachelor (faculty subject, optional subject)
• Production - Master (optional subject)
• Audiovisual Studies - Bachelor (qualification subject, faculty subject, optional subject)
• Editing - Bachelor (faculty subject, optional subject)
• Editing - Master (optional subject)
• Sound Design - Bachelor (faculty subject, optional subject)
• Sound Design - Master (optional subject)
• Photography CZ - Bachelor (faculty subject, optional subject)
• Photography CZ - Master (optional subject)
• Audiovisual Studies - Master (optional subject)
• Restoring of Photogrphy (optional subject)