Montage workshop 3

Subject is not scheduled Not scheduled

Subject guarantor:

Name of lecturer(s):

Learning outcomes of the course unit:

Successful implementation of all group and study exercises. Gathering of knowledge from the workshop program.

Mode of study:

Screenplay consultations, shooting manner, rough edit, and, possibly, all rough material after the final edit.

Prerequisites and co-requisites:

Readiness to devote the maximum of one's time and energy to the successful mastery of challenging tasks arising from the implementation of the practical exercises.

Course contents:

The workshop should accentuate the open form of thinking about film and through the film, namely video and audio, monitor their relationships (not only) with an emphasis on editing and the open-form sequence-shot film.

The workshop is defined space-time in which students receive pedagogical leadership not only in school exercises and work on their studies, but also in the wider framework of their future profession. Based on theoretical and practical reflections on specific topics builds a method of specific „film“ thinking.

We prefer working individually with each student since we believe every student to be a special individual and everyone will be working with a material marked by a different personality of its maker (the director). Therefore, each material presents different problems in its form. Of course, the works presented in the seminars allow for generalizations, f. e. the differences in editing of a documentary or a feature film, the rhythm or pacing, orchestral composition of the audio component, work with music, dramaturgical composion etc. The knowledge of this is valuable to all students regardless of their year of study. To demonstrate, we can use selected video sequences on tapes.

Topics:

•Editing as a means of expression

•Screenplay (script) – analysis, montage – synthesis

•Functions of a camera shot

•Size of a camera shot and its value

•Variability of a shot’s length

•Impact of a shot

•Manipulation with time and space through editing

•Time-space orientation

•Camera position and floor plan

•Influence of optics on the content of a camera shot

•Line of action – posibilities of its change and orientation rules

•Script of a simple situation with a point, a horizontal projection with a camera position

•Editing composition with regard to the genre: news report, clip, documentary, feature film (differences)

•Difference between the editor’s work in a documentary and a feature film

•Use of music in a documentary and a feature film

Recommended or required reading:

Writings, 1934-1947: Sergei Eisenstein Selected Works, Volume 3 Reprint Edition

by Sergei M. Eisenstein (Author), Richard Taylor (Editor)

ISBN-13: 978-1848853577

ISBN-10: 1848853572

Ralph Rosenblum and Robert Karen - When the shooting stops...the cutting begins

ISBN-10: 0306802724; ISBN-13: 978-0306802720

Theory of Film

by Siegfried Kracauer

Series: Princeton Paperbacks

Paperback: 364 pages

Publisher: Princeton University Press (November 24, 1997)

Language: English

ISBN-10: 0691037043

ISBN-13: 978-0691037042

Assessment methods and criteria:

Completion of a film and submitted explication

Course web page:

Note:

none

Further information:

No schedule has been prepared for this course

The subject is a part of the following study plans: