Film Language 3

Předmět není vypsán Nerozvrhuje se

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Výsledky učení dané vzdělávací složky

The class is about competence and knowledge of basic film language and grammar, through analysis of material and screenings (also of students material.)

Forma studia

seminar

Předpoklady a další požadavky

-

Obsah kurzu

In my seminar I will focus solely on the context of contemporary auteur film (from the 1990s to the present) in relation to the director’s concept. I will often further develop the theme of the seminar in cooperation with the Cinergy Education Platform, where I led a masterclass in film personalities, whose works I presented at the seminar (Claire Denis, Tomasz Wasilewski, Agnes Godard and others).

My objective is to reveal to our students more practical and modern methods of conceiving the mise-en-scene, and thereby contribute to the development of their own director’s vision.

Not just what is it about but HOW is it about?

– the process of visualisation

– acting style – guiding actors in relation to composition and camera movement, the rhythm of dialogues in relation to the size of the shot, to camera movement, and to editing. Determining the style of acting.

Determining the acting style. Natural v. stylised. Rhythm, composition, verisimilitude, the here and now.

In my film it is not the actor but the actor’s image that performs. What is authentic screen acting? Should the actor play for the camera, or should the camera “simply” record the actor’s performance. Must my actors know the psychological portraits of their characters? Isn’t there a risk that they will present their assumptions of what the result should be? How authentic should the actor be in front of the camera? How can I assist my actors as director?

– sound concept – the director’s concept of the sound components should already be thought out at the literary script stage (sound style, sync sound versus post-sync; dialogues and sound effects, their interaction and rhythm; determining the foreground and middle ground)

Is it possible for me to replace the image with the sound element? Would this not be a way to involve the viewer’s imagination more? I first show my characters listening and only then do I show what they are listening to (Hou Hsiao Hsien, N.B. Ceylan, Kornél Mundruczo, Ivan Bunin).

• shape and colour – determining the film’s basic colour scheme and shapes. Maintaining the totality.

Protecting the director’s vision from post-distribution subject-matter (director’s vision, pitching, materials about the film, logline, commentary, presskit)

• role of the director/auteur in the present context of European production – developing a project, pitching, works in progress, script labs, presentation at film markets and forums, films festivals.

Doporučená nebo povinná literatura

Literature:

Gaston Bachelard: The Poetics of Space, Gaston Bachelard: La poétique de la rêverie (The Poetics of Dreaming), Steven D. Katz: Film Directing Shot by Shot, Eric Sherman: Directing The Film, David Bordwell: Figures Traced in Light, Zwischen Film und Kunst (Storyboards von Hitchcock bis Spielberg), Roy/Leweke: The Berlin School, etc.

Film trends:

Berlin School, Romanian new wave, French new extremity, Taiwanese new wave, Argentinian new cinema, etc.

Visuals, work with space, painters, architects:

Daniel Pitín, Vilhelm Hammershoi, Edward Hopper, Andrew Wyeth, Luca Servino, László Rajk, etc.

Hodnoticí metody a kritéria

Based on participation and results.

Poznámka

Václav Kadrnka

Professional filmography

Full-length feature films

2011 Eighty Letters (premiere Berlinale 2011) – Director, co-screenwriter, producer

2017 Little Crusader (premiere International Film Festival Karlovy Vary 2017) – Director, co-screenwriter, producer

Projects in course of development:

2017 Saving One Who Was Dead (project supported by SFK, Springboard Finále Plzeň 2017, MIA Market Rome 2017, HAF Asia Financing Forum – Best International Project Award) - Director, story, screenwriter, producer

2017 All Calm in the Treetops – Director, story, co-screenwriter, producer.

Select awards

Eighty Letters

2011 Berlinale, world premiere in the Forum section

2011 The Golden Kingfisher Award, Finale Film Festival, Plzeň

2011 Silver Alexander, Special Jury Award, Thessaloniki IFF

2011 International FIPRESCI. prize, Thessaloniki IFF

2012 Czech Film Critics’ Prize

The Little Crusader

2013 New Cinema Network Prize, Rome

2017 Karlovy Vary IFF, main prize Crystal Globe

2018 Czech Film Critics’ Prize, Best Direction

2014 – Teacher at the Film and TV School of the Academy of Performing Arts in Prague

Další informace

Pro tento předmět se rozvrh nepřipravuje

Předmět je součástí následujících studijních plánů

• Cinema and Digital Media - Directing-1819 (volitelný předmět)
• Cinema and Digital Media - Directing_1920 (volitelný předmět)