Film Analysis Seminar

Display Schedule

Code Completion Credits Range Language Instruction Semester
373SAF Z 1 3T Czech summer

Subject guarantor

Jan BERNARD

Name of lecturer(s)

Jan BERNARD

Learning outcomes of the course unit

-

Mode of study

Screenings, analysis

Prerequisites and co-requisites

-

Course contents

  1. (27.2.) Václav Kadrnka (Dept. of Directing) - Ordet (1955, Carl Theodor Dreyer )
  2. (6.3.) Adam Brothánek (Editing Dept.) - Persona (1966) Ingmar Bergman film from NFA
  3. (13.3.) Marek Jícha (Camera Dept.) – La Terra Trema (L. Visconti)

Contribution of Italian neo-realism to the world perception of the film image. Its realistic depiction in the work of the cameramen and definite departure from conventional lighting styles. The cameraman becomes part of the creative team and the photographic style of the image is subject to supporting the depicted material. Fundamental principles of creating a realistic and conventional cameraman's style.

  1. (20.3.) Michal Bohm – Touch of Evil (O. Welles)
  2. (27.3.) Jakub Kudláč (Sound Design Dept.) - Pierrot le fou (J-L. Godard) film from NFA
  3. (3.4.) Ivo Trajkov (Editing Dept.) - At High Noon (1952, F.Zinneman) film from NFA
  4. (17.4.) Vít Janeček (Documentary Film Dept.) + Bohdan Sláma (Directing Dept.) - Bicycle Thieves (1948, Vittorio De Sica)

Modern narration at the turn of classical film.

Gilles Deleuze begins his second book about film (Film 2: Image - Time) with a reference to Bazin's interpretation of „Bicycle Thieves“ as a great metaphor of a new awareness which gave birth to war experience and belongs to the area of film at the composition level in which is suddenly was not possible to count on real figures self-confidently moving according to their own will. Their conflicts with the surroundings create dramatic elements of the story. Will itself becomes the subject of doubt and with that the sensory-motor scheme whic creates a bond between figures and the viewer of classical films.

A detailed analysis of the main film and several examples investigates both sides of the breaking point which was arrived at in post-war film and created the foundation for the modern, original film and new artistic domains in cinematography in new distinctions from classical story narration and immersive film composition.

  1. (24.4.) Vít Janeček (Documentary Film Dept.) – Pirosmani (G. Šengelaja)

Recommended or required reading

-

Assessment methods and criteria

Writing essays

Note

Analysis course in the summer is required for first-year bachelor's studies students in The History of Cinema II. For other s it is an elective course.

Further information

This course is an elective for all students of this school

Schedule for winter semester 2018/2019:

The schedule has not yet been prepared

Schedule for summer 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
Tue
Wed
room 124
Projection Room
(Lažanský palác)
BERNARD J.
09:00–11:45
(lecture parallel1)
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
Wed 09:00–11:45 Jan BERNARD Projection Room
Lažanský palác 		lecture parallel1

The subject is a part of the following study plans