First-Year Documentary Workshop 2
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 303RD2 | Z | 1 | 3T | Czech | summer |
Subject guarantor
Name of lecturer(s)
Learning outcomes of the course unit
The implementation workshop is focused on the creation of an original (documentary) film. The first semester serves for acquiring basic film skills, checking of motivation, investigating topics and script creation. The central focus of the second semester are intensive consultations on film shooting and editing. The purpose of the course is to guide students through the cycle of the generation of a work and, primarily, instigate the development of their film language.
Mode of study
A desire to discuss is requested of all participants. Students - future documentary film makers - are to develop their creative personalities - brainstorm, contribute topics, instigate discussion and improve themselves. In the implementation of their summary film, each is defended: WHAT will be shot - WHY it will be shot - HOw it will be shot.
Moderated discussion, dramaturgy analysis of literature bases - subject matter and script, dramaturgical analysis of the visual inspection, dramaturgy of the edited version. Analysis of film samples from previous students of the Documentary Dept. Comparative analysis of literature bases and final works.
Prerequisites and co-requisites
A desire for discussion is requested from all participants. Students - future documentary film makers - are to develop their creative personality - brainstorm, contribute topics, initiate discussion, and individually improve themselves. Prior to the implementation of their summary film, each one defends: WHAT will be shot - WHY it will be shot - HOW it will be shot.
Course contents
- THE WORKSHOP IS A GATHERING. A process of mutual cultivation. Incursion and protection, by thought and empathy, spark and congealment. The workshop is a place of constant action, but with appropriate interruptions for intensive reactions. Risk and security.
The limits of the workshop are variable.
- THE WORKSHOP IS A PLAYGROUND. An open interplay and encounter. The workshop is the appropriate place for investigating playing (creative) positions. For example; to be able to step out of one's original position and in exercise take on another. Teamwork is also a responsible adversarial position. A good player doesn't play only for one's self.
The creator should be the authority as well.
- THE WORKSHOP IS AN ENCOUNTER. A conversation about the common. Exploring internal motivations for creativity. Well-considered reasons and potential importance of a work in social relations. Reflections upon the topic of the prepared film.
Is (will) the creative activity (be) confident (persuasive)?
- THE WORKSHOP IS A SERVICE. An investigation of particular ideas. Development of one's personal film language. Investigation of possible viewpoints. Verification of style and the scales of their rules. Expansion of media literacy and interpretive feeling.
The right question for the right answer.
- THE WORKSHOP IS NOT DOGMA. Provocation of inspiration. Those present do not affirm their uniqueness but mutually critically stimulate it. Creative goal awareness should lead to a complacent carreerism. The workshop is not to become a closed sect - school of a single language.
Originality does not guarantee personality.
Recommended or required reading
Film Writings:
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;
Collections; Collective authors: Média a realita; FSS MU; Brno; 2001
Assessment methods and criteria
Credit is awarded based on:
- Comprehensive participation during the group discussions - preparation of the summary films
- completion of all literary bases for the prepared films
- on-going presenations of the shooting material.
- final presentation of completed edits of individual films.
Note
None
Schedule for winter semester 2018/2019:
The schedule has not yet been prepared
Schedule for summer 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 | 13:05–14:45 | Jan Šípek | Room No. 211 Lažanský palác |
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The subject is a part of the following study plans
- Documentary Film - Bachelor - 1819 (required subject)