Film Style and Form 2

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Subject guarantor

Name of lecturer(s)

Petra DOMINKOVÁ

Learning outcomes of the course unit

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

Mode of study

lecture

Prerequisites and co-requisites

Preferably Film Style and Form 1, however it is not a condition of attending nr. 2.

Course contents

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!)

Recommended or required reading

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.

Assessment methods and criteria

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%

Note

-

Further information

This course is an elective for all students of this school

Schedule for winter semester 2020/2021:

The schedule has not yet been prepared

Schedule for summer semester 2020/2021:

• Week view
• List

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)