Film Language 1

Display Schedule

Code Completion Credits Range Language Instruction Semester
302FR1 Z 1 2T Czech winter

Subject guarantor

Petr MAREK

Name of lecturer(s)

Petr MAREK

Learning outcomes of the course unit

The aim is a comparative analysis of the basic elements of film language.

Mode of study

Two continuing semester lectures

Theory analysis of basic and advanced figures of film narration based on cinematography sequence examples

Introduction to basic principles of film directing

Presentation of the instructors experience in practice.

Prerequisites and co-requisites

nejsou žádné požadavky pro zapsání tohoto předmětu

Course contents

1.

INTRODUCTORY SURVEY OF THE BASIC ELEMENTS OF FILM LANGUAGE:

Contrast

Rhythm

Movement

Framing

multiple shots

Objectivity / Subjectivity

Guiding attention

Triad principle

Samples:

Walter Ruttman: Lichtspiel, Opus 1

Jacques Tati: Playtime

Jacques Tati: Traffic

Alain Resnais: Same Old Song

Stanley Kubrick: Eyes Wide Shut

Andrej Tarkovskij: Stalker

Sam Raimi: Evil Dead II

2.

FUNDAMENTAL POTENTIAL MOVEMENT MISTAKES IN BUILDING A REALISTIC SPACE

Analysis of errant shooting exposure in the film Be Cool (director, F. Gary Gray).

Axes principles

Viewing angle

Relationship of mis-en-scene, shot dimensions and editing for audience attention.

Samples:

F. Gary Gray: Be Cool

3.

SECONDARY PLAN

The rise of the significance in the secondary shooting plan.

The semiotic roll of set-design

Samples:

Wim Wenders: Falešný pohyb

Radim Špaček: Rychlé pohyby očí

Orson Welles: Citizen Kane

Woody Allen: Hollywood v koncích (Manhattan(?))

Robert Wiene: The Cabinet of Dr. Caligari

Michelangelo Antonioni: Red Desert

Agnes Varda: Vagabond

Agnes Varda: Cléo from 5 to 7: Remembrances and Anecdotes

Sergej Ejzenštejn: Ivan the Terrible

Ridley Scott: Alien

4.

FOCAL POINT

Guiding viewer attention by camera movement and change in mis-en-scene.

Samples:

Steven Spielberg: Raiders of the Lost Arch

M. Night Shyamalan: The Village

Rainer Werner Fassbinder: The Stationmaster's Wife

Steven Spielberg: Jaws

Gus Van Sant: Elephant

Paul Thomas Anderson: There Will Be Blood

5.

USE OF BASIC ELEMENTS OF FILM LANGUAGE IN „EYES WIDE SHUT“.

Analysis of the to date covered elements of film narration in the exposition of Stanley Kubrick's film

Samples:

Stanley Kubrick: Eyes Wide Shut

6.

THE ROLE OF THE WHOLE

Potentil and function of the use of fundamental thypes of shot dimensions.

Samples:

Steven Spielberg: Star Wars: Episode VI - Return of the Jedi

Charles Chaplin: The Gold Rush

Stanislav Strnad: Poprask na silnici E4

Ricky Gervais, Stephen Merchant: The Office

Blake Edwards: A Shot in the Dark

Jacques Tati: Monsieur Hulot's Holiday

Jacques Tati: Playtime

Roman Polanski: Bitter Moon

7.

THE ROLE OF DETAIL

Potential and function in the use of fundamental types of shot dimensions. Sound details.

Samples:

YouTube: Marinada

Mike Nicholls: The Graduate

Bob Fosse: All That Jazz

8.

CAMERA MOVEMENT 1

Basic function and potential camera movement. Two-part lecture.

Samples:

Alain Resnais: Pas Sur La Bouche

Robert Altman: The Player

Jan Svěrák: Kolja

Joe Wright: Atonement

Miklós Jancsó: The Red and the White

Youtube: Neříkej

Edgar Wright: Mint Royal - Blue Song

Wim Wenders: Million Dollar Hotel

Agnes Varda: Le Bonheur

9.

CAMERA MOVEMENT 2: FREE CAMERA

Advanced use of camera movement

Samples:

Miklós Jancsó: Allegro Barbaro

Miklós Jancsó: Jesus Christ's Horoscope

Ladislav Smojlak, Zdeněk Podskalský: Kulový blesk

Jean-Luc Godard: Weekend

Petr Makaj: Eleanor

Michelangelo Antonioni: L'Eclisse

Michelangelo Antonioni: The Passenger

Alfred Hitchcock: Frenzy

Joel Coen: Blood Simple

Peter + Bobby Farrelly: Me, Myself and Irene

10.

EDITING AND MONTAGE 1

Fundamental function of editing and assemblage. Three-part lecture

Samples

Alfred Hitchcock: Rich and Strange

Serge Gainsourgh: Je t'aime (Moi non plus)

Sergej Ejzenštejn: The Battleship Potemkin

Sergej Ejzenštejn: The General Line/Old and New

Miloš Forman: Taking Off

Youtube: Chuck Norris Shooting

Woody Allen: Love and Death

Luc Besson: Leon

Jean-Luc Godard: Crazy Pete

Agnes Varda: Le Bonheur

Gerard Damiano: Deep Throat

Steven Spielberg: Star Wars: Episode VI - Return of the Jedi

Andrzej Wajda: Man of Iron

11.

EDITING AND MONTAGE 2 - NARRATIVE MONTAGE FILM

Montage principles arranged into a narrative film

Samples:

Alain Resnais: My American Uncle

12.

EDITING AND MONTAGE 3 - NON-NARRATIVE MOTAGE FILM

Analysis of comprehensive montage film works - existential comedy

Samples:

Jean-Luc Godard: Keep Your Right

13.

INFORMATION - EMOTION - TRANSCENDENCE

Sequence rhythm vs. length of shot, overdose.

Samples:

Eric Rohmer: A Summer's Tale

Takeshi Kitano: Kikujiro

Ladislav Smojlak, Zdeněk Podskalský: Kulový blesk

Robert Sedláček: Muži v říji

Tomáš Vorel: Kouř

Jan Svěrák: Vratné lahve

Jan Hřebejk: Pelíšky

Ondřej Trojan: Pějme píseň dohola

Tomáš Saska: Příběh ženy

Andrej Tarkovskij: Stalker

Andrej Tarkovskij: Solaris

14.

MUSIC AND SOUND 1

Basic principles in the use of music and sound. Two-part lecture

Samples:

Paul Jackson: The Young Ones

Ridley Scott: Alien

Alexandr Stefanovič: Dorogoj Malchik

Věra Chytilová: Ovoce stromů rajských jíme

Jean-Luc Godard. A Woman is a Woman

David Lynch: Lost HIghway

Jaroslav Dudek: Malý pitaval z velkého města - Vedoucí partiové prodejny

Marek Najbrt: Protektor

Marek Najbrt: Mistři

Stanley Kubrick: Eyes Wide Shut

Jindřich Honzl: Peníze nebo život

Zdeněk Troška: Zkouškové období

Stanley Kubrick: 2001: A Space Odyssey

Alain Resnais: Providence

Luc Besson: Leon

15.

MUSIC AND SOUND 2

Fundamental principles of the use of music and sound

Samples:

Jacques Rivette: Haut Bas Fragile

John Badham: Saturday Night Fever

Wim Wenders: Summer In The City

Claire Denis: Beau Travail

Apichatpong Weerasethakul: The Adventures Of Iron Pussy

Věra chytilová: Panelstory

Stanley Kubrick: A Clockwork Orange

Lars von Trier: Melancholy

Paul Thomas Anderson: Punch-Drunk Love

Věra Chytilová: Kalamita

Ettore Scola: Le Bal

Bob Fosse: All That Jazz

Benedek Flieghauf: Dealer

Tom tykwer: Run, Lola, Run

16.

IDENTIFICATION 1

The process of viewer joining in through movement and graphics elements in examples at the beginning of films. Two-part Lecture

Samples:

David Lynch: Lost Highway

Lars von Trier: Europe

Jan Svěrák: Jízda

Zucker Abrahams Zucker: Airplane

Andrzej Wajda: Man of Marble

Lars von Trier: The Boss of it All

Steven Soderbergh: Ocean's 12

Krzystof Zanussi: Camouflage

Steven Soderbergh: Out of Sight

Terrence Mallick: The Thin Red Line

Tom Tykwer: Run, Lola, Run

17.

IDENTIFICATION 2

Process of viewers joining in through the definition and surroundings in example from the beginnings of films.

Samples:

Miloš Forman: Man on the Moon

Woody Allen: Stardust Memories

Woody Allen: Annie Hall

Ridley Scott. Alien

Francis Ford Coppola: The Conversation

Orson Welles: Citizen Kane

Sam Raimi: Evil Dead II

Tomáš Vorel: Kouř

Stanley Kubrick: A Clokwork Orange

Alain Resnais: Providence

Alain Resnais: Last Year in Marienbadu

Danny Boyle: Trainspotting

Francois Truffaut: The Soft Skin

18.

SYMBOLIC FILM

Metaphoric, metonymic, allegoric film expression.

Ukázky:

Miklós Jancsó: Allegro Barbaro

Jean-Luc Godard: Nouvelle Vague

Jurij Norštejn: Hedgehog in the Fox

19.

APPLICATION OF ALL FILM LANGUAGE TOOLS IN THE STRUCTURE OF A COMPLETE FILM WORK 1

A two part analysis of the use of camera, editing ad set design in the construction of a story and its metaphoric superstructures in existential musical comedy.

Ukázky:

Alain Resnais: Same Old Song

20.

APPLICATION OF ALL FILM LANGUAGE TOOLS IN THE STRUCTURE OF A COMPLETE FILM WORK 2

A two part analysis of the use of camera, editing ad set design in the construction of a story and its metaphoric superstructures in existential musical comedy.

Ukázky:

Alain Resnais: Same Old Song

21.

OVERVIEW OF FUNDAMENTAL DIRECTING MISTAKES

An attempt at the numbering of potential pitfalls in the building of mis-en-scene (discussion respectively), creating the time of the film, guiding actors and the probability of narration.

22.

FILM LANGUAGE PRACTICE 1

Fundamental practice task and analysis and its implementations. Directing students (elective for others) shoot, independently, a shor formal exercies to adopt the basic elements of film language, primarily, multiple shots and editng continuity.

23.

FILM LANGUAGE PRACTICE 2

Assignment of a practice task and group analysis of the implementation. directing students (elective for others) shoot, independently, a shor formal exercies to adopt the basic elements of film language, primarily, multiple shots and editng continuity.

The lecture will be arranged during the year according the completion level of the exercise and maybe part of other lectures.

24.

FILM LANGUAGE PRACTICE 3

Assignment of a practice task and group analysis of the implementation. directing students (elective for others) shoot, independently, a shor formal exercies to adopt the basic elements of film language, primarily, multiple shots and editng continuity.

The lecture will be arranged during the year according the completion level of the exercise and maybe part of other lectures.

25.

fILM LANGUAGE PRACTICE 4

Assignment of a practice task and group analysis of the implementation. directing students (elective for others) shoot, independently, a shor formal exercies to adopt the basic elements of film language, primarily, multiple shots and editng continuity.

The lecture will be arranged during the year according the completion level of the exercise and maybe part of other lectures.

26.

FILM LANGUAGE PRACTICE 5Assignment of a practice task and group analysis of the implementation. directing students (elective for others) shoot, independently, a shor formal exercies to adopt the basic elements of film language, primarily, multiple shots and editng continuity.

The lecture will be arranged during the year according the completion level of the exercise and maybe part of other lectures.

Recommended or required reading

Bazin, A.: Co je to film?

Plazewski, J.: Filmová řeč

Ejzenštejn, S. M.: O stavbě uměleckého díla

Ejzenštejn, S. M.: Kamerou, tužkou, perem

Drvota, M. Základní složky filmu

Bresson, R.: Poznámky o kinematografu

Aristotelés: Poetika

Deleuze, G: Film 1. Obraz - pohyb

Deleuze, G.: Cinema 2. The time - image, New York 1986

Assessment methods and criteria

Conditions for completion are participation in the lectures and a written or oral analysis.

Written: Analysis of film sequencing from the viewpoint of the expression means used in the film's language considering the works topic. The work should not contain subjective critiquing elements or a list of events (except the necessary for the analysis). The work must be original and not used for any other purpose. The selection of a work must exclude those presented during the class sessions. The text of the work must be at least fill 3 standard sides of a paper and must be submitted at least 7 days in advance by email to: krlek@post.cz

Oral: A public presentation of such an analysis with submitted audio-visual examples in the length of a 10 minute oral presentation.

Note

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Further information

This course is an elective for all AMU students

Schedule for winter semester 2018/2019:

06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
room 240
Room No. 240
(Lažanský palác)
MAREK P.
17:20–18:55
(parallel1)
Tue
Wed
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
Mon 17:20–18:55 Petr MAREK Room No. 240
Lažanský palác 		parallel1

Schedule for summer semester 2018/2019:

The schedule has not yet been prepared

The subject is a part of the following study plans