Film Style and Form 1

Display Schedule

Subject guarantor

Petra DOMINKOVÁ

Name of lecturer(s)

Petra DOMINKOVÁ

Learning outcomes of the course unit

By the end of the course students will:

-adopt stylistic aspects of mise-en-scene in the history of world cinema

-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

Mode of study

lecture

Prerequisites and co-requisites

-

Course contents

The course will focus on the film style and form - mise-en-scene, cinematography, editing - partly based on the readings of the book Film Art: An Introduction by David Bordwell and Kristin 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.

Recommended or required reading

Required Reading:

AMOS, Jonathan, MACHLISS, Paul ('Baby Driver' film editors): 'Every aspect integrated to the music' (video) Available at https://www.youtube.com/watch?v=NF8U4vo-axc

BORDWELL, David, THOMPSON, Kristin. Film Art. An Introduction. (International Edition.) McGraw-Hill, 2010.

BURCH, Noel: Theory of Film Practice. Princeton University Press 1981, pp. 17 – 31.

CUNNINGHAM, Stuart. “The Magnificent Ambersons, deep space, the long take and psychological representation,” Continuum: The Australian Journal of Media & Culture.

5, no. 2 (1992). Available at: http://wwwmcc.murdoch.edu.au/readingroom/5.2/Cunningham.html

DEROO, Rebecca J. „Unhappily ever after: visual irony and feminist strategy in Agnes Varda's Le Bonheur ,“ Studies in French Cinema 8, no. 3 (September 2008), pp. 189-209.

HAERI, Shahla., Sacred Canopy: Love and Sex under the Veil. Iranian Studies 42, no. 1, 2009, pp. 113-126.

HANICH,Julian “Complex Staging. The Hidden Dimensions of Roy Andersson’s Aesthetics,” Movie – A Journal of Film Criticism 5, 2014, pp. 37 – 50.

HARPOLE, Charles H., “Ideological and Technological Determinism in Deep Space Cinema Images: Issues in Ideology, Technological History and Aesthetics.” Film Quarterly 33, no. 3 (Spring 1980), pp. 11-22.

HENDERSON, Brian. Toward a non-bourgeois camera style. In Movies and Methods ed. by Bill Nichols. University of California Press 1976 (vol. 1), pp. 422–438.

NAREMORE, James. Acting in Cinema. University of California Press 1992, pp. 131–156.

PLACE,Janey – PETERSON, Lowell. Some Visual Motifs of Film Noir. In Movies and Methods. Ed. by Bill Nichols. California: University of California Press, 1976 (vol. 1), pp. 325–338.

OCKMAN, Joan. Architecture in a mode of distraction: Eight takes on Jacques Tati’s Playtime. In Architecture and film, ed. by Mark Lamster, Princeton Architectural Press, 2000, pp. 171-196.

SCHWARZER, Mitchell. The consuming landscape: Architecture in the films of Michelangelo Antonioni. In Architecture and film, ed. by Mark Lamster, Princeton Architectural Press, 2000, pp. 197–215.

TURNER, George. The Astonishing Images of I am Cuba. In: American Cinematographer, July 1995, pp. 77–82.

Assessment methods and criteria

Students work is assessed according to class attendance, class participation, presentation, midterm essay and final essay

The course grade will be calculated as follows:

Class attendance and participation -25%

Presentation - 25%

Midterm essay - 25%

Final essay - 25%

Note

-

Further information

This course is an elective for all students of this school

Schedule for winter semester 2020/2021:

• Week view
• List

Schedule for summer semester 2020/2021:

The schedule has not yet been prepared

The subject is a part of the following study plans

• Cinema and Digital Media - Directing_1920 (required optional subject)
• Cinema and Digital Media - Directing 2020 (required optional subject)
• Erasmus (optional subject)