Movie rhythm

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Key terms: RHYTHM, METER, MATURITY CURVE, TENSION AND SURPRISE, GRADATION, STYLIZATION, FORMALIZATION

A preselection of analyzed film examples: Rhythm 21 (Richter), The Battleship Potemkin (Eisenstein), The Deserter (Pudovkin), Berlin, Symphony of a Metropolis (Ruttmann), Adebar (Kubelka), Psycho (Hitchcock), Easy Rider (Hopper), The Cremator (Herz), Running Bull (Scorcese), Man from Acapulco (de Broca), Koyaanisquatsi (Reggio), The Pianist (Haneke), Lorna's Silence (Darden Bros.), Blood Simple (Anderson), Skyfall (Mendes)

Mode of study:

The Film Rhythm lecture is an introduction to the theory and practice of neglected issues of film rhythm. In the introduction the phenomenon of rhythm will be presented in general and through science, philosophy and art. From examples of the use of rhythm in art (music, architecture, painting) the particulars of film rhythm will be derived. Diverse perspectives on perception and the artistic use of rhythm in film will be presented. Fixed rhythmic figures of film language and artistic efforts to surpass grammatic conventions will be analysed in selected film examples.

Prerequisites and co-requisites:

Fundamental knowledge of the Avid editing software

Course contents:

RHYTHM

„The art of beautiful movement“

Augustinus

Rhythm is an inseparable part of life and the basis for thinking about time - alternation of day and night, high tide and low tide, systolic diastolic heatbeat, alternation of lightning and dark during a film screening. In art rhythm is a way to articulate time and space as an aesthetic function. The brevity of a cinema piece and the unambiguous understanding of its rhythm prevents this - the structure of a film is polyrhythmic. Film rhythm is a complex, not easily understood audio-visual phenomenon which creates a specfic experience of time - this is its unnaturalness ripped from real time.

The FILM RHYTHM course is an introduction to the theory and practice of the mentioned issues of film rhythm. The introduction will present the phenomenon of rhythm in general and across philosophy and art. Using examples of rhythm in art (music, architecture, painting) we will derive the particulars of film rhythm. Diverse perspectives of perception and the creative use of rhythim in cinema will be presented. Using selected film examples, the fixed rhythm figures of film language and creative efforts at grammatical conventions overcoming this.

Recommended or required reading:

Preliminary selection of film sample analyses: Rhythm 21 (Richter), Battleship Potemkin (Eisenstein), The Deserter (Pudovkin), Berlin: City Symphony (Ruttman), Adebar (Kubelka), Psycho (Hitchcock), Easy Rider (Hopper), The Creamator (Herz), Running Bull (Scorsese), Man from Acupulco (de Broca), Koyaanisquatsi (Reggio), The Pianist (Haneke), Lorna's Silence (The Darden Bros.), Blood Simple (Anderson), Skyfall (Mendes)

Assessment methods and criteria:

Zá/1 za 100% účast

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Note:

This module is intended for all FAMU students and recommended particularly for Editing Dept. students.

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No schedule has been prepared for this course

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