Jan Šerých Workshop

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Learning outcomes of the course unit:

The aforementioned workshop will be, in its first phase, devoted to the phenomenon of linking text and (the moving) image. In meetings, through brief case studies, first we will try to, in isolation, to research the various forms of this phenomenon in its most traditional application (text in silent films, traditional introductory or closing credits, subtitles).

The following and important chapter is an extensive presentation of various examples of intentionally or unintentionally disruption or pushing the limits of the film-text genre (amateur titling, mistakes, coincidental setting of meaning in conceptual videos, graphic schematics and „text outside the image“ in contemporary cinema and series production...). The following practice assignment will be dependent on the selected topic and disposition of the students and may extend from a script or storyboard to as far as a short film form.

The second phase of the workshop will cover to a certain extent the reverse process, that is conservation of (the moving) image in text. This may be a short synopsis of an independent work, arising from a completed film. To what extent is it possible to compare film editing, separated from certain material, with the work of a graphic designer?

Nor here does the practice assignment rigidly limit the media choice. This comes merely from the idea of interpretation or abstraction of an already existing work with a certain preference for the material or graphic form of the final result.

Mode of study:

Prerequisites and co-requisites:

Recommended optional programme components:

No further recommended optional study components.

Course contents:

The aforementioned workshop will be, in its first phase, devoted to the phenomenon of linking text and (the moving) image. In meetings, through brief case studies, first we will try to, in isolation, to research the various forms of this phenomenon in its most traditional application (text in silent films, traditional introductory or closing credits, subtitles).

The following and important chapter is an extensive presentation of various examples of intentionally or unintentionally disruption or pushing the limits of the film-text genre (amateur titling, mistakes, coincidental setting of meaning in conceptual videos, graphic schematics and „text outside the image“ in contemporary cinema and series production...). The following practice assignment will be dependent on the selected topic and disposition of the students and may extend from a script or storyboard to as far as a short film form.

The second phase of the workshop will cover to a certain extent the reverse process, that is conservation of (the moving) image in text. This may be a short synopsis of an independent work, arising from a completed film. To what extent is it possible to compare film editing, separated from certain material, with the work of a graphic designer?

Nor here does the practice assignment rigidly limit the media choice. This comes merely from the idea of interpretation or abstraction of an already existing work with a certain preference for the material or graphic form of the final result.

Recommended or required reading:

Planned learning activities and teaching methods:

Assessment methods and criteria:

Submission of the project assigned by the external instructor.

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No schedule has been prepared for this course

The subject is a part of the following study plans: