Circulating within The Modern Cinematic Image
| Kód | Zakončení | Kredity | Rozsah | Jazyk výuky | Semestr |
|---|---|---|---|---|---|
| 311CIRM | ZK | 3 | 4T | anglicky | zimní |
Garant předmětu
Jméno vyučujícího (jména vyučujících)
Výsledky učení dané vzdělávací složky
By the end of the course students will:
-learn both - how to watch a film and how to use other disciplines to throw more clear light on the cultural form of cinema
-recognize a different perspective on the development of an important and influential cultural form of the twentieth-century, the cultural system of film
-writing and presentation of an academic text
Forma studia
lecture plus discussion
Předpoklady a další požadavky
no prerequsities
Obsah kurzu
This inter-disciplinary seminar is modeled on the epistemological notion of a U.S.-American-informed postmodernity/globalization, which informs our contemporaneity, and which by extension produces the present class that engages a select examination of global films from the following twentieth-century world-directors: Sergei Eisenstein (USSR), Carl Theodor Dreyer (Denmark), D.W. Griffith (USA), Buster Keaton (USA), Fritz Lang (Austria/Germany/USA), Friedrich Murnau (Germany), Dziga Vertov (USSR), and Orson Welles (USA) (i.e., pre–1947 Occidental and Soviet cinema); special focus will be given to those cinematic moments that teach and train us in new non-dominatory viewing strategies, in new creative ways of circulating, of moving and of thinking within and interpreting the aesthetic unit of the image. The rôle of silence and of the unconscious in film culture will also be given coverage. Film criticism and film philosophy from Walter Benjamin (Germany), Leo Bersani-Ulysse Dutoit (USA), David A. Cook (USA), Gilles Deleuze (France), Siegfried Kracauer (Germany), Niklas Luhmann (Germany), Todd McGowan (USA), Edgar Morin (France), Jacques Rancière (France), Erik S. Roraback (USA/Czech Republic), Steven Shaviro (USA), François Truffaut (France) and Slavoj Žižek (Slovenia), will be our principal textual objects of focus.
The course covers following topics:
The Early Sound Soviet Cinema and the Late-Style Quiet Eisenstein
Orson Welles, American Film and the Advent of the Time-Image
Silent Soviet Film, Dialectical Montage and the Camera-Eye
Silent Film and the Close-Up
Buster Keaton and the Aesthetic of Dizziness
German Expressionism and the Socio-Economic
D.W. Griffith and the Pioneering of a Medium
Doporučená nebo povinná literatura
Recommended Reading
BARBER, Stephen. The Screaming Body. London: Creation, 1999. 126 s.
BERSANI, Leo, DUTOIT, Ulysse. Arts of Impoverishment: Beckett, Rothko, Resnais. Harvard: Harvard University Press, 1994. [256 s.] ISBN 9780674048768.
BÍLEK, Petr A., ed. a DIMTER, Tomáš, ed. Krajina bez vlastností: literatura a střední Evropa: Peteru Demetzovi k 85. narozeninám = Landschaft ohne Eigenschaften: Literatur und Mitteleuropa: Festschrift für Peter Demetz zum 85. Geburtstag. 1. vyd. Praha: Gutenberg, 2007. 344 s. ISBN 978-80-86349-30-5.
CONRAD, Peter. The Stories of His Life: Orson Welles. London: Faber & Faber, 2003. XIII, 384 p.
COOK, David A.: A History of Narrative Film. 4th ed. New York: Norton, 2004. xxviii, 1120 s.
DELEUZE, Gilles: Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, cop. 1986. XIII, 250 s.
DELEUZE, Gilles. Cinema 2: The Time-Image. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press. XVIII, 344 s.
DREW, William M. D.W. Griffith’s ‘Intolerance’: Its Genesis and its Vision. Jefferson, N.C.: McFarland, [2001?], ©1986. x, 197 s.
EISNER, Lotte H.: The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. Berkeley: University of California Press, repr. 1990, ©1969. 360 s.
KRACAUER, Siegfried: From Caligari to Hitler: A Psychological History of the German Film. Princeton: Princeton Univ. Press, 1947. XII, 361 s.
LAMBERT, Gregg. The Brain is the Screen: An Interview with Gilles Deleuze. In FLAXMAN, Gregory, ed. The Brain is the Screen: Deleuze and the Philosophy of Cinema. Minneapolis: University of Minnesota Press, 2000, s. 365-374.
LUHMANN, Niklas: The Reality of the Mass Media. Trans. Kathleen Cross. Stanford: Stanford University Press, 2000. 154 s.
MCGOWAN, Todd. The Real Gaze: Film Theory after Lacan. Albany: State University of New York Press, ©2007. xii, 254 s.
MORIN, Edgar: The Cinema, or The Imaginary Man. Trans. Lorraine Mortimer. Minneapolis: University of Minnesota Press, 2005. 292 s.
MORIN, Edgar. The Stars. Trans. Richard Howard, foreword Lorraine Mortimer. Minneapolis: University of Minnesota Press, 2005. 160 s.
NANCY, Jean-Luc: The Creation of the World; or, Globalization. Trans. with an intro. François Raffoul and David Pettigrew. Albany: State University of New York Press, 2007. vii, 129 s.
RANCIERE, Jacques. Film Fables. Trans. Emiliano Battista. Oxford: Berg, 2006. VIII, 196 s.
RANCIERE, Jacques. The Future of the Image. Trans. Gregory Elliott. London: Verso, 2007. 147 s.
RORABACK, Erik S.: a select band of essays adduced above (some published and some unpublished) from a book that is being prepared for publication.
SHAVIRO, Steven. The Cinematic Body, Theory Out of Bounds, Volume 2. Minneapolis: University of Minnesota Press, c1993. x, 276 s.
TRUFFAUT, François. Foreword. In: BAZIN, André. Orson Welles: A Critical View. Los Angeles: Acrobat, 1978, s. 1-27.
TSIVIAN, Yuri: Ivan the Terrible. London: BFI, 2002. 87 s.
ŽIŽEK, Slavoj: In Defense of Lost Causes. London: Verso, 2008. 530 s.
Hodnoticí metody a kritéria
Attendance - no more than one absence out of the fourteen total weekly sessions
Student work is evaluated based on one oral presentation on a film and on the required text(s), mid-term essay (1500 words)and a Final essay (3000 words).
The course grade will be calculated as follows:
Attendance and participation - 30%
Mid-term essay - 20%
Oral presentation - 20%
Final essay - 30%
Poznámka
Detailed syllabus available upon request in FAMU International office.
Erik Sherman Roraback
erik.roraback@gmail.com
www.erikroraback.com
(Charles University; FAMU-International)
(Visiting Professor, Univ. de Provence, Aix-en-Provence, France, 2005;
College Tutor and Doctor of Philosophy, University of Oxford, UK, 1997,
doctoral thesis examiners Terry Eagleton, Oxford & Maud Ellmann, Cambridge;
Bachelor of Arts, Pomona College, USA, 1989).
Office hours:
After seminar and by appointment;
To be announced, Faculty of Philosophy, Charles University, nám. J. Palacha 2, Room 219c
Rozvrh na zimní semestr 2020/2021:
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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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| Datum | Den | Čas | Vyučující | Místo | Poznámky | Č. paralelky |
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| Út | 08:30–11:25 | Erik Sherman RORABACK | Projekce FAMU Lažanský palác |
přednášková par. 1 |
Rozvrh na letní semestr 2020/2021:
Rozvrh zatím není připraven
Předmět je součástí následujících studijních plánů
- Montage-1920 (povinně volitelný předmět)
- Montage_2020 (povinně volitelný předmět)
- Cinema and Digital Media - Directing_1920 (povinně volitelný předmět)
- Cinema and Digital Media - Directing 2020 (povinně volitelný předmět)
- Erasmus (volitelný předmět)