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Welcome page > FAMU > Department of Audiovisual Studies > Pentium History of Audiovision: The History of Avant-garde Film 1

Pentium History of Audiovision: The History of Avant-garde Film 1

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
373PDV1 ZK 2 4/T Czech winter
Subject guarantor:
Name of lecturer(s):
Learning outcomes of the course unit:

The course aim is to evoke active interest in issues of avant garde art, not only in film, but in other arts disciplines.

Mode of study:

The course aim is to provoke the active interest of the student in the issues of avant-garde art, not only in film but in other art disciplines as well. The lecture topics:

Concept of the Avant-garde

Decadent uprooting and revolution - Mario de Michelli

Four „Moments“ in the conception of the avant garde or Renate Poggioli.

Mekas's periodization of three film avant-garde.

Expressionsim (painting, literature and film, repeating present, characteristic motifs).

Urbanism - City symphony.

The trails of Cubism, Futurism, Constructivism.

Dada and Surrealism.

Myth-poetic concept of film.

Prerequisites and co-requisites:

Introduction at least to these films (arranged according to the alphabet):

Andaluský pes, Anémic cinéma, Černá-bílá-šedá, Dopolední strašidlo, Krev básníka, Mezihra, Noc na Lysé hoře, Odpolední osidla

Recommended optional programme components:

None

Course contents:

An understanding of the relationship of film to other types of art is possible (actually easier) to demonstrate in the history of World Avant-garde. The relationship of film to visual arts, music and literature and their theories will be explained using particular materials, not only diachronically (in film avant-garde events) but also synchronically and structurally. The relationship of the avant-garde and the latest theory concepts cannot be left out which influenced film at the end of the 20th century (post-moderism, feminisim). The presentation is based on a number of particular examples from the area of film (video presentations) as well as literature (for example, screenplays, conversations, theory studies and other literature documents). The interpretation of these materials is an emphasized work in the spirit of Cage's statement: „The significance of what we do is determined by everyone who sees or hears our work.“ This presumes active participation by the students.

1. The concept of the avant-garde. Decadent eradication and revolt - Mario de Michelli. Historical and „...everlasting“ concept of Diana Crane. (A cross section of avant garde film works in examples).

2. Four „moments“ in the conception of the avant garde of Renato Poggioli. (Changes in abstract film: Walter Ruttmann, Oskar Fischinger, Hans Richter, Viking Eggeling, Brakhage's explanation of abstract film, gestural abstraction, modern forms - Bärbel Neubauer, Martin Anibas - Pique-Nique).

3. Mekas' periodization of three film avant gardes. Definition of avant garde creators according to Sigfried Kracauer. Kracauer's presentation of Clair's interplay.

4. Expressionism (painting, literature, and film, repeating presence of „characteristic motifs“). Wiene, Murnau, Lang. Berthold Bartosch, Alexandre Aleieff - Night on Bald Mountain, Emelie Carlsson Gras - Dansa med dvärgar (Dancing with Dwarfs)

5. L'Herbier, Delluc, Epstein - adaptation of E.A. Poe vs. Švankmajer, later film impressionism - Dimitri Kirsanoff - Menilmontant, Jean Renoir - La fille de l'eau)

6. Urbanism - city symphonics (functional arrangement, concept of one day, social and „symphonic“ concepts) Ruttmann - Berlin, metropolitan symphonies. Cavalcanti - Rien que les heures („Nothing but Time“), Paul Strand - Manhatta, Otakar Vávra - Světlo proniká tmou, Alexander Hackenschmied - Na Pražském Hradě, Dziga Vertov - Chelovek s kino-apparatom (Living Russia, or The Man with a Camera)

7. The trails of Cubism, Futurism, Constructivism, Fernad Léger, René Clair - La Tour, Joris Ivens - De brug (The Bridge), Eugen Deslaw - Vers les robots, Ralph Steiner - Mechanical Principles, David Cox - Puppenhead (Czech Title).

8. Dada, disintegration of traditional values (Man Ray)

9. Dada - surrealism (Hans Richter)

10. Surrealism , psychic automatism, paranoid-critical method, specific irrationality - attack on society, „Classical“ American and contemporary forms of surrealism, Germain Dulac - La Coquille et le clergyman (The Seashell and the Clergyman), Dali and Bunuel - Un Chien Andalou (An Andalusian Dog), L'Age d'Or (The Golden Age), Maya Deren - Meshes of the Afternoon; Švankmajer.

11. Surrealism (Dreams in Film)

12. Mytho-poetic concepts of film; Jean Cocteau - Le Sang d'un Poete (The Blood of a Poet), The Quay Brothers - Street of Crocodiles, Enkidu - Conflict and Co-existence of Various Cultures, High and low conflict.

13. The Semi-avant garde (Reflections upon the current situation - based on discussions with the students.

Recommended or required reading:

Ulver, Stanislav: Západní filmová avantgarda, ČFÚ, Praha 1991

Dwoskin, Stephen, Film Is the International Free Cinema, The Overlook Press, Woodstock, New York 1975

Higgins, Dick, Horizons. The Poetics and Theory of the Intermedia, Southern Illinois University Press, Carbondale Edwardsville 1984

Kracauer, Siegfried, Teorie filmu, Studijní materiály dramaturgie II, SPN, Praha 1968

Lipovetsky, Gilles, Éra prázdnoty, Prostor, Praha 2001

Poggioli, Renato, The Theory of the Avant-Garde, Harper and Row, New York 1971

Vogel, Amos, Film as a Subversive Art, Random House, New York

Youngblood, Gene, Expanded Cinema, New York 1970

Planned learning activities and teaching methods:

Lecture, screenings

Assessment methods and criteria:

Acquaintance with the basic concepts and works covered in the test. Each student will also have the task to develop and present a short paper about any phenomenon which they consider to be avant garde (including a visual, audial or literary example, one's own work is not excepted).

Course web page:
Note:

This course takes place once every two years.

Further information:
No schedule has been prepared for this course
The subject is a part of the following study plans:
Generated on 2015-06-16