First-Year Documentary Workshop 1
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 303RD1 | Z | 1 | 3T | Czech | winter |
Subject guarantor
Name of lecturer(s)
Learning outcomes of the course unit
An implementation workshop focused on the creation of an original (documentary) film. The first semester serves for acquiring basic film skills, checking motivation, searching for a theme, and creating the script. The focus of the second semester is intensive consultation on shooting and editing the film. The purpose of the course is to guide student in the process of the generation of a work and primarily to stimulate the development of their own film language.
Mode of study
All participants are asked to at least a desire for discussion. Students, future (documentary) film creators - should develop their creative personality - be brimming with ideas, present topics, drive discussion and developed themselves personally. In completing their Summary film, each will, of course, defend: WHAT they will shoot, - WHY they will shoot it, - HOW they will shoot it.
Moderated discussions, Dramaturgical analyses of literary bases - subject and screenplay, dramaturgical analyses of reconnaissance, dramaturgy of the edited version. Analyses of examples from the films of previous Documentary Dept.students. Comparison of literary bases and finished works.
Prerequisites and co-requisites
Desire to discuss is required of all participants. Students - future originators of (documentary) films - should develop their creative personality = bubble over with ideas, present topics, drive discussion and individually develop oneself. In the implementation of their summary film, each sensibly defends; WHAT they will shoot.- WHY they will shoot it. - HOW it will be shot.
Course contents
- The workshop is a meeting. A process of mutual cultivation. Offense and defense, thought and empathy. The workshop is a place of constant activity but with appropriate pauses for intensive reactions. Risk and security.
The limits of the workshop are alterable.
- The workshop is a playground. An open interplay and battle. The workshop is the place for investigating playing (creative) positions. For example, from the original position to be able to step out and in exercises take on a different one. Interplay is a responsible encounter. A good player doesn't play only for themself.
The author should be the authority.
- The workshop is an encounter. A conversation about the common. A confirmation of internal motivations for creation. A consideration of the reasons and potential significance of a work in societal relations. Reflections on topics in the prepared film.
Is (Will) the creator's activity (be) convincing?
- The workshop is a servis. An investigation of the concrete. Development of one's personal film language. Surveying possible viewpoints. A checking of style and the scale of its rules.
Expansion of media literacy and interpretation sensitivities.
The right question for the right answer.
- The workshop is not dogma. A provocation of inspiration. Those present are not assuring their uniqueness but are mutually critically stimulated. Creative self-discipline should not lead to complacet careerism. The workshop should not become a closed sect - a school of a single language.
Originality does not guarantee individuality.
Recommended or required reading
Film literature:
Bazin, André : Co je to film?; Československý filmový ústav; Praha; 1979
Bresson, Robert: Poznámky o kinematografu; Dauphin; Praha; 1998
Carriére, Jean-Claude: Vyprávět příběh; NFA; Praha; 1995
Drvota, Mojmír: Základní složky filmu; NFA; Praha; 1994
Ejzenštejn, Sergej: O stavbě uměleckého díla; Československý spisovatel, Praha, 1963
Epstein, Jean: Poetika obrazů; Hermann & synové; Praha; 1997
Gauthier, Guy: Dokumentární film, jiná kinematografie; AMU a Ji hlava; Praha; 2004
Gogola ml., Jan: Smrt dokumentárnímu filmu! Ať žije film! Od díla k dění!; Dipl. pr. FAMU; 2001
Monaco, James: Jak číst film; Albatros ; Praha; 2004
Nichols, Bill: Úvod do dokumentárního filmu; AMU; Praha; 2010
Truffaut, Francois: Rozhovory Hitchcock- Truffaut; ČSFÚ; Praha; 1987
Ulver, Stanislav: Západní filmová avantgarda; ČFÚ; Praha; 1991
Worth, Sol: Obrazy nemohou říkat ne; in: Sborník filmové teorie I; ČFÚ; 1991
Barthes, Roland: Světlá komora - vysvětlivka k fotografii; Archa; Bratislava; 1994
Bernard, Jan: Jazyk, kinematografie, komunikace; NFA; Praha; 1995
Blažek, Bohuslav: TVáří TVář k obrazovce; SLON; Praha; 1995
Deleuze, Gilles: Obraz-pohyb; NFA; Praha; 2000
Eco, Umberto: Mysl a smysl; Nadace Vize; Praha; 2000
Flusser, Vilém: Do univerza technických obrazů; OSVU; Praha; 2001
Foucault, Michel: Diskurs, autor, genealogie; Svoboda; Praha; 1994
McLuhan, Marshall: Jak rozumět médiím; Odeon; Praha; 1991
Sontágová, Susan: O fotografii; Paseka; Praha; 2002
Virilio, Paul: Informatická bomba; Pavel Mervart; 2004
Sborník; kolektiv autorů: Média a realita; FSS MU; Brno; 2001
Assessment methods and criteria
Credit is awarded based on:
- comprehensive participation during group discussions - preparations for the summary films
- completion of all literary bases for the prepared films
- on-going presentations of shooting material
- final presentation of completed edits of individual films.
Note
None
Schedule for winter semester 2018/2019:
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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
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| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
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| Tue | 12:20–14:45 | Jan ŠÍPEK | Room No. 211 Lažanský palác |
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Schedule for summer semester 2018/2019:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Documentary Film - Bachelor - 1819 (required subject)