Film Style and Form 2

Zobrazit rozvrh

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Petra DOMINKOVÁ

Výsledky učení dané vzdělávací složky

By the end of the course students will:

-describe the means of film style and form and how they present themselves

-interpret possible meanings of films or short extracts seen during the lectures

Forma studia

lecture

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

Recommended Reading:

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

Students work is assessed according to class attendance, class participation, presentation and a final test.

The course grade will be calculated as follows:

Class attendance and participation - 25%

Presentation - 25%

Final test - 50%

Poznámka

-

Další informace

Předmět je součástí nabídky volitelných předmětů fakulty

Rozvrh na zimní semestr 2020/2021:

Rozvrh zatím není připraven

Rozvrh na letní semestr 2020/2021:

• Týdenní přehled
• Seznam

Předmět je součástí následujících studijních plánů

• Cinema and Digital Media - Directing_1920 (povinně volitelný předmět)
• Cinema and Digital Media - Directing 2020 (povinně volitelný předmět)
• Erasmus (volitelný předmět)