Memory, deception and archives in contemporary audiovisual practice
Code | Completion | Credits | Range | Language Instruction | Semester |
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307DPMA | ZK | 3 | 2DO | English, Czech | summer |
Subject guarantor
Name of lecturer(s)
Learning outcomes of the course unit
Our aim is to overlap and blur the boundaries between the genres and disciplines such as photography, film, video art and video-installation. The important part of the final output will be a specific idea of its presentation in an appropriate artistic environment such as gallery of art, institution, cinema room, black-box, internet platform, site specific project.
Mode of study
in person, 5-6 lectures, by agreement
Prerequisites and co-requisites
The workshop is intended for students of all classes who consider their work in the terms of the contemporary art and try to exceed the categories and genres of the photography towards the moving image and video art. Knowledge of editing software such as Final Cut and Avid or the essentials of postproduction software /e.g. Adobe After FX/ is beneficial.
Course contents
The goal of the “Memory, deception and archives in contemporary audio-visual practice” workshop is to discover new viewpoints and try to find interdisciplinary overlaps and connections between media. We will explore personal and collective memory, storytelling in contemporary video art and its disruption, the boundary between reality and fiction, the principle of an unreliable narrator, alternative history, conspiracy theories and working with fake news and hoaxes. We will emphasise the importance of selecting topics that are current and anchored in the context of contemporary visual culture. We will focus on how to research archival materials and on how to select, alter, recontextualize and incorporate them into original work. We will also touch upon the possibilities of manipulating the moving image.
Recommended or required reading
Slavoj Žižek: Lacrimae rerum, Kieślowski, Hitchcock, Tarkovskij, Lynch, AMU v Praze, 2015
Miroslav Petříček: Myšlení obrazem, Herrmann & synové, Praha 2009
Michael Rush: Video Art, Thames and Hudson, 2007
Scott Watson, Diana Thater, Carol J. Clover: Stan Douglas, Phaidon Press Limited, 1998
Allain Robbe-Grillet: Gumy / The Erasers, Patrick Modiano: Ulice temných krámků /Missing Person/, Mladá fronta, 2014
Links:
http://www.archivesandcreativepractice.com/be-inspired
https://www.youtube.com/watch?v=0mu2O5DyQh0
https://www.youtube.com/watch?v=U2Pn8SCFvjM
https://www.youtube.com/watch?v=srhcNFMbSk0
https://www.youtube.com/watch?v=Ao9vUkdeX8Q
http://www.chromart.org/andreas-muhe-mischpoche-at-hamburger-bahnhof-berlin/
https://www.e-flux.com/announcements/42187/slater-bradley-s-doppelganger-trilogy/
Assessment methods and criteria
I will evaluate the working process, interest and invidual approach of the students to the topics, and the quality of the final output.
Note
lecturer: Adéla Babanová
NoteHynek ALT:
lecturer: Adéla Babanová
Schedule for winter semester 2019/2020:
The schedule has not yet been prepared
Schedule for summer semester 2019/2020:
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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Thu | 16:00–18:00 | Studio No. 312 Tržiště 20, Praha 1 (vchod z Rektorátu AMU, Malostranské nám. 12) |
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The subject is a part of the following study plans
- Photography CZ - Bachelor - 1920-1year (required optional subject)
- Photography CZ - Bachelor - 1920-2year (required optional subject)
- Photography CZ - Bachelor - 1920-3year (required optional subject)
- Photography CZ - Master - 1920_1y (required optional subject)
- Photography CZ - Master - 1920_2y (required optional subject)
- Photography EN - Bachelor-1920 (required optional subject)
- Photography EN - Master-1920 (required optional subject)