Realm of Montage

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Garant předmětu

Bára KOPECKÁ

Jméno vyučujícího (jména vyučujících)

Bára KOPECKÁ

Výsledky učení dané vzdělávací složky

At the end of the course students should be able to analyze elements of the film language within a scene.

Forma studia

lecture

Předpoklady a další požadavky

-

Obsah kurzu

“Film is like a battlefield: love, hate, action, violence, death... in one word – emotion,” says Samuel Fuller playing himself in Godard’s Pierrot le fou. Montage sequences create emotions in film, and they show not only the work of the editor but also the specific film language and philosophy of the director. We will study excerpts from well-known films that express interestingly extreme and emotional life situations.

Man Ray used to say when he was teaching at UCLA: „Think of your film as of a necklace that consists of individual jewels - sequences“. We will try to understand what choices helped the famous filmmakers to create those jewels.

1. opening as a code

openings linked to endings: Blue Velvet, Death in Venice

historical: JFK, Milk, Natural Born Killers

emotional: The Color: Blue, Europe

character-driven: Apocalypse now, Taxi Driver, Down by Law

1. emotional effect of jump cuts

existential: Breathless,

dogma 95: Breaking the Waves, Festen, The Idiots, Dogville

nonlinear: The Limey

1. love scenes

Eros and Tanathos, solitude and desire: India song

sex: Hiroshima mon amour, The Lover, Woman of The Dunes, Last Tango in Paris

end of love: L’meprise

(im)possibility of love: Pierrot le Fou, In The Mood For Love, Damnation, L’ecclise, La Notte

1. death scenes

suicide: Satantango, Million Dollars Hotel, Distant Journey, Solaris, Lilya 4 ever, Mulholland Drive, Solaris

personification of death: Seventh seal, All that jazz, The Cremator

1. architecture as a tool of portraying the inner life

social and personal: L’avventura, Red Desert,

esthetics: The Belly of an Architect, Zed and two noughts, Last Year At Marienbad

insanity: Lost Highway

meditative: Vertical Features Remake

1. power of voice over

memory: La jetée

essay: The Windows, H is for House,

impressionism: Badlands, Days of Heaven,

juxtaposition: India Song

vertical montage: Chunking Express

1. expressing violence

humor or tears: Pulp Fiction, Blue Velvet, A Clockwork Orange

perspective: Elephant

psychology: Straw Dogs, Once There Were Warriors

aftermath: L'argent, Lilya4ever

symbolic: Throne of Blood

1. chase or escape

minimalistic: Down By Law, A Man Escaped, Diamonds of the night

microstories: French Connection

philosophy: Blade Runner

symbolic: An Occurrence at The Owl Creek, Mother

psychology: Vagabond, Bicycle Thief

1. creating suspense

ticking bomb: Birds, Notorious, Carrie

perspective: Mulholland Drive, The Bread

game: Dressed to Kill

seduction: Blade Runner, Out of sight, 3 IronThe Cook, The Thief, His Wife, Her Lover

manipulation: Wild at Heart

1. art of transcendence

art as a subject: Limits of control, Frida

leitmotif: Hana-Bi , La belle captive

transcendence and structure: The Mirror, Antichrist, Elisa, vida mia

meditation on life and death: Nostalgia

1. the other reality

dream: Wild Strawberries

trip: Easy Rider, The Trip, 10 minutes

life with drugs: Requiem For A Dream

surrealism: Eraserhead

Doporučená nebo povinná literatura

Kovács, András Bálint. Screening modernism: European art cinema, 1950-1980 [online]. Chicago: University of Chicago Press, ©2007. Cinema and modernity [cit. 2019-09-18].

Hodnoticí metody a kritéria

attendance and practical assignment

Poznámka

Teacher´s email address is: bara.kk@email.cz

Rozvrh na zimní semestr 2020/2021:

• Týdenní přehled
• Seznam

Rozvrh na letní semestr 2020/2021:

Rozvrh zatím není připraven

Předmět je součástí následujících studijních plánů

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