Collective seminar RSP 2

Subject is not scheduled Not scheduled

Subject guarantor:

Name of lecturer(s):

Learning outcomes of the course unit:

The aim of the study is the shooting of a simple group exercise.

Mode of study:

1) selection of etudes or independent texts

2) staff teamwork on a project

3) comparison of group dramaturgy through presentation and open discussion.

4) Consultation and meeting with the instructor - presentation of instructor experience.

5) selection of appropriate project for completion

6) film shooting.

Prerequisites and co-requisites:

No requirements.

Course contents:

The aim of the group work is to understand the fundamental principles of film thought, group screenwriting, dramaturgy and directing, their implementation and apply a creatively, together in an organized play.

Considering the amount of time we have at our disposition,we start will be a comprhensive fragment of a story focused on a situation or a character. We do not need to create a film but this possibility is not excluded. Neither do we exclude, that if desired or needed by the students, the material may be developed into a film in Prague. What we expect at Ponešice, is an idea of the final form, supported by an assembly of shots presenting a fragment or fragments of the imagined form, supplemented by a storyboard or photo-script. Therefore, that „form“ develops and is refined during the work. We allow that the idea allows diverse variants.

Extent of the resulting film: 1-3 min. Determined by the artists if it covers a fragment of a fictional story. In any case this covers a completed form revealing a particular rhythm and style.

It is recommended that students, beforehand, consider and propose subject matter which will follow the technical possibilities (video) and potential of the given environment - interiors and exteriors.

Procedure:

1. Selection of proposed subject matter and establishing the crew (according to the number of participants - 5 students) who develop the subject matter.

2. Shooting, photography, proceeding according to the shooting schedule which, considering the evironment is not completely important but is the center of the process allowing work withing the given time layed-out to maintain the imagined proportions.

3. Evaluation of shot material and determining potential for editing (development and refinement of the script)

4. A short shot or correction, if needed or beneficial.

5. Shot assembly, combined with photographs or a storyboard.

6. Presentation of results.

Consultations with the instructor will take plade during all phases of work. The role of the instructor is not to directly interfere with the artists' work but to point out principles and potential which make things easier.

This module methodology requires complete participation by students in all work phases together but not according their study plan. Each participates in the dramaturgy, organization and implementation. This includes scriptwriters, directors, producers and actors with their ideas according to the environment and need.

Considering the conditions in which this exercise takes place, everyone is open to improvisation, which does not mean that we avoid work but that we allow interesting ideas and coincidence.

Recommended or required reading:

Recommended literature:

(books are available at the FAMU Library)

Plazewski, Jerzy: Filmová řeč

Bazin, André: Co je to film?, ČFÚ, Praha 1979

Deleuze, Gilles: Film1: Obraz ? pohyb, NFA, Praha 2000

Ejzenštejn, Sergej: Kamerou, tužkou i perem, Orbis, Praha 1953

Ejzenštejn, Sergej: O stavbě uměleckého díla, Čs. spisovatel, Praha 1963

Rak, Jan: Antická tragédie, AMU, Praha 1983

Aristoteles: Poetika, Praha 1996

Bresson, Robert: Poznámky o kinematografu, Praha 1998

Truffaut, Francois: Rozhovory Hitchcock ? Truffaut

Drvota, Mojmír: Základní složky filmu, Praha 1994

Kučera, Jan: Kniha o filmu, Orbis, Praha 1941

Kučera, Jan: Skladba ve filmu a v televizi, AMU, Praha 1965

Kučera, Jan: Střihová skladba ve filmu a v televizi, SPN, Praha 1983

Kučera, Jan: Základy střihové skladby / Střihová a zvuková skladba filmu I, II

Reisz, Karl: Umění filmového střihu, ÚPF, Praha 1962

Sadoul, Georges: Dějiny světového filmu, Orbis, 1963

Stručný přehled dějiny světového filmu, Praha 1986

Toeplitz, Jerzy: Dějiny filmu 1, Panorama, Praha 1989

Monaco, James: Nová vlna, AMU, Praha 2001

Ulver, Stanislav: Západní filmová avantgarda, Praha 1992

Aristarco, Guido: Dějiny filmových teorií, Orbis, Praha 1968

J. Kučera: Střihová skladba ve filmu a v televizi

J. Kališ: Problematika filmových dramatických forem I, II

E. Lindgren: Filmové umění

S. Ulver: Západní filmová avantgarda

R. Lukavský: Stanislavského metoda herecké práce; Být nebo nebýt

M. Čechov: O herecké technice

Film je umění (Sborník statí)

J.Vostrý: Režie je umění; O hercích a herectví

J.-C. Carriere: Vyprávět příběh

S.M.Ejzenštejn: Umenie mizanscény I,II

David J. Novotný: Chcete psát scénář?

J.Valušiak: Střihovou skladbou k n-té dimenzi

L.V. Kulešov: Základy filmové režie

Jan Císař: Základy dramaturgie

F. Daniel ? M. V. Kratochvíl: Cesta za příběhy

Assessment methods and criteria:

100% attendance in classes + shooting of the group short film.

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: