Filming The Unfilmable
Kód | Zakončení | Kredity | Rozsah | Jazyk výuky | Semestr |
---|---|---|---|---|---|
311UNF | Z | 2 | 2H/W | anglicky | zimní i letní |
Garant předmětu
Jméno vyučujícího (jména vyučujících)
Výsledky učení dané vzdělávací složky
By the end of the course students will:
-learn the techniques, skills and academic considerations present within film literature in order to define and differentiate the various elements that combine to deliver a coherent project
-gain an understanding of the personal, critical, social and commercial factors within the creative process that leads to finished artistic projects within the audio-visual medium
Forma studia
lecture
Předpoklady a další požadavky
-
Obsah kurzu
This course is designed to give students an in-depth experience of the creative process and its considerations and to consider the ‘filmable’ - those things that are ‘known’ and the ‘unfilmable’ - those things which are ‘understood’.
The course uses film text analysis, academic texts drawn from a wide range of sources not only limited to film, a short series of class assignments, and in-class exercises exploring the creative writing process as found in film script development.
Doporučená nebo povinná literatura
THOULESS, Robert H. Straight and Crooked Thinking. London: Pan Books, 1974. 220 s. ISBN 0-330-24127-3.
EAGLETON, Terry. Literary Theory. Oxford: Basil Blackwell, 1989. VIII, 244 s. ISBN 0-631-13259-7.
BROOK, Peter. The Empty Space. London: Pelican Books, 1988. 157 s. ISBN 0-14-02.1415-1.
PETER, John Desmond. Vladimir’s Carrot. London: Methuen. x, 372 s. 1988. ISBN 0-413-18530-3.
ESSLIN, Martin. The Field of Drama. London, New York: Methuen, 1988. 190 s. ISBN 0-413-19260-1.
Hodnoticí metody a kritéria
Students will be evaluated on their contribution and efforts to the class, practical work and the colloquial examination. The course grade will be calculated as follows:
Attendance - 20%
Participation in discussion - 30%
In-class assignments - 60%
Poznámka
- Introduction: Lecture plus in-class exercises; 'Creative play on the page' Intro to Creative Writing for screenwriters - chronology, narrative structure, character, dramatic principles, cinematic requirements, why write?
Prior reading/screening - none this session but students to screen two music videos of their choice on YouTube
- The range and commonality of adaptation. Principles of creative writing/thinking - thinking the unthinkable.
Reading: Students to bring one short story of their choice to the session and be prepared to defend its qualities as a piece of literature of interest and literary merit.
- Launch of 1st set exercise plus lecture - influences and usefulness of associated artforms - 'lifted' dialogue and image. The development of franchise characters.
Screening extracts from:
James Bond
Marvel / DC comics characters
Asterix
Jason Bourne
Reading:
Esslin: The Field of Drama. Methuen ISBN 9780413192608
4 Camera stylo, improvisation and research, life experience - Zeitgeist and contexts of source material v adaptation for current screening.
Screening: Extracts from the work of Mike Leigh. Students to have viewed Abigail's Party, Topsy Turvy, Vera Drake, Mr Turner (trailer or excepts if released).
5. 2nd set exercise. The challenge of what the writer 'cannot have' Adapter v author (how much to respect source material). Use of the Epic format.
Screenings: extracts from
The Life of Pi: Dir Lee
Jason and the Argonauts: Dir Chaffey
O Brother Where Art Thou: Dir Coen Brothers
Beowulf: Dir Zemekis
The Mahabharata: Dir Brook 1990
Life of Brian: Dir Pythons
Reading: Peter J, Vladimir's Carrot. Methuen 1987
- Adapting from novel/short story - examples of the 'unfilmable'
Readings: Stories by Maugham, Chekhov, Turgenev, Mann, de Maupassant, Gustav Meyrink, Hrabal, Thurber, Hawthorne, Woody Allen, Hardy, others of choice. Translations in English must be available for inclusion.
Screening extracts from:
Love In The Time of Cholera: Dir Newell
Pride and Prejudice: Dir Wright
The Handmaids Tale: Dir Schlondorff
The 39 Steps: Dir Hitchcock
Kidnapped: Dir Stevenson 1960
7. 3rd exercise launch. Screenplay tasks - literary narrative versus visual narrative. Classical literature techniques in screenplay and the use of 'historical' language.
Shakespeare in Love: Dir Madden
Moliere: Dir Tirard
Richard III: Dir Olivier
Henry V: Dir Olivier and Branagh
Ran: Dir Kurosawa
Macbeth: Dir Polanski
- Adapting from stage material
Madness of George III; Dir Hytner
The King's Speech; Dir Hooper
Amadeus; Dir. Forman
Vanya on 42nd Street; Dir Malle
Reading: Brook P, The Empty Space. ISBN 9780684829579
- Group workshop. Students to bring extracts of material specifically adapted to children's market and animation (adult and children)
No reading or screening prior to this session.
- Adapting biography, interface of selected adapted material with adapter's appropriate personal experience.
Screenings: Students to have viewed:
Lust for Life: Dir Minnelli
The Music Lovers: Dir Russell
Students to bring screen excerpts of 2 biopics of their choice. One must be a biopic of an artist, the other not.
- The writer /director relationship
Prior reading/screening - none this session
- Final class: Review and preparation/ expected requirements for next semester.
Rozvrh na zimní semestr 2020/2021:
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 | 13:10–14:45 | Neil Andrew TAYLOR | Učebna 3 (FAMU) Lažanský palác |
přednášková par. 1 | ||
St | 13:10–14:45 | Neil Andrew TAYLOR | Učebna 7 (FAMU) Lažanský palác |
přednášková par. 2 |
Rozvrh na letní semestr 2020/2021:
Rozvrh zatím není připraven
Předmět je součástí následujících studijních plánů
- Montage-1920 (volitelný předmět)
- Cinema and Digital Media - Directing_1920 (povinně volitelný předmět, volitelný předmět)
- Cinema and Digital Media - Directing 2020 (povinně volitelný předmět, volitelný předmět)