Film Style and Form 2

Předmět není vypsán Nerozvrhuje se

Kód Zakončení Kredity Rozsah Jazyk výuky Semestr
311FSF2 ZK 3 4/W anglicky letní

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Výsledky učení dané vzdělávací složky

The spring Film Style and Form focuses 1/ on sound, often neglected aspect of film style, and 2/ on narration. Students obtain a useful tools for understanding and analysing films.

Forma studia

Lecture, seminar, film samples

Předpoklady a další požadavky

Preferably Film Style and Form 1, however it is not a condition of attending nr. 2.

Obsah kurzu

The course will focus on the film style and form - sound, narration - partly based on the readings of the book Film Art: An Introduction by David Bordwell and Kritstin Thompson. We will discuss the means of film style and form and how they present themselves in a dozen of films from various epochs and countries. Disclosure of possible meanings and interpretation of them is the aim of the course.

During the sessions students will watch the films in their entirety (English version or subtitled); short extracts illustrating particular topics will also be screened. The discussions in which we can exchange the ideas and experiences are important part of each lesson. Students should ask anything that is not clear enough, bring their own ideas and participate actively in the whole course.

„Film Style and Form“ is open in both semesters, the Fall term focuses on mise-en-scene, cinematography, editing. Students are suggested to take both.

(The course partially covers the topics for CDM state exam!)

Doporučená nebo povinná literatura

Readings:

Bordwell, David, and Kristin Thompson. Film Art. An Introduction. McGraw-Hill, 2010. 78-101, 269-298.

Bordwell, David. ?Mutual Friends and Chronologies of Chance.? Poetics of Cinema. New York and London: Routledge, 2008. 189-250.

Branigan, Edward. ?The Point of View Shot.? Movies and Methods, vol. II. Ed. by Bill Nichols. Berkeley, Los Angeles, London: University of California Press, 1985. 672-691.

Brickman, Barbara Jane. ?Coming of Age in the 1970s: Revision, Fantasy, and Rage in the Teen-Girl Badlands.? Camera Obscura 22:66 (September 2007), 24-59.

Browne, Nick. ?The Spectator-in-the-Text: The Rhetoric of Stagecoach.? Film Quarterly 29.2 (Winter 1975-76): 26-38. (see http://faculty.washington.edu/cbehler/glossary/browneSpec.html)

Coyle, Rebecca. ?Point of Audition. Sound and Music in Cloverfield.? Science Fiction Film and Television 3:2 (2010), 217-238.

Hexel, Vasco. ?The use of dance music and the synergy of narrative vehicles in Run Lola Run.? The Soundtrack 3.2, 83-96.

Koizumi, Kyoko. ?Creative Soundtrack Expression. Tôru Takemitsu?s Score for Kwaidan.? Genre, Music, and Sound: Terror Tracks: Music, Sound, and Horror Cinema. Ed. by Philip Hayward. London: Equinox Publishing Ltd., 2009. 88-100.

Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. University of California Press, 1989. 41-102.

Kozloff, Sarah. Overhearing Film Dialogue. Ewing, NJ: University of California Press, 2000. 33-63, 235-266.

Nardelli, Matilde. ?Some reflections on Antonioni, sound, and the silence of La Notte.? The Soundtrack 3:1 (2010), 11-23.

Hodnoticí metody a kritéria

Grading will be based on two aspects:

Participation in discussion: 50 %

plus ONE from the following assignments (based on each student’s choice):

Midterm Essay: 50 %

Final Essay: 50 %

Presentation: 50 %

Grading Table

Grade/percent1000 points/500 points

A100-96 1000-960 500-480

A – 95-90959-900479-450

B+89-87899-870449-435

B86-83869-830434-415

B – 82-80829-800414-400

C+79-76799-760399-380

C75-70759-700379-350

D 69-60699-600349-300

F59-0 599-0299-0

Note: While CIEE students may receive grades with – and +, other students, registered in KOS may receive only A, B, C, etc. In that case, A means 100-90 percent, B 89-80 percent, C 79-70 percent.

Poznámka

None

Další informace

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