Film Language 2
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 311FLG2 | credit | 2 | 2 hours (45 min) of instruction per week, 32 to 42 hours of self-study | English | winter |
Subject guarantor
Name of lecturer(s)
Contents
This course aims to teach students not just what is it about but HOW is it about. The course covers following topics:
-the process of visualisation, story and literary screenplay, alongside literary work, developing the director’s concept of a text
-what does the story offer in terms of the film’s direction? Why make it into a film? – work with space, the role of space – nature, architecture in the story, placing of figures in space (from the story phase envisage the space, the alternation of exteriors and interiors, their role, work with the colour of space in relation to the colour of costumes, light and shadow)
-why does my story take place precisely here? Do I use space solely as a background for characters, or do I invest it with other meaning? Do I want it to reflect the inner world of my characters?
-technical script and storyboard – camera angles, ground plan with camera positions. Perspective.
-subjective perspective versus objective perspective – determining the basic viewpoint of the narrative.
Learning outcomes
By the end of the course students will:
-learn how to analyze own or foreign script and prepare its visual interpretations
-learn the critical and analytical thinking of the use of film language and misanscene
-learn the advanced use of the film language and other elements of the filmic expression in service of their narrative strategy
Prerequisites and other requirements
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Literature
BACHELARD, Gaston. The Poetics of Space. [7th ed.] New York: Penguin Books, 2014. xxx, 268 s. ISBN 9780143107521.
BACHELARD, Gaston. La poétique de la rêverie. 3. ed. Paris: Press universitaires de France, 1965. 183 s.
KATZ, Steven D (Steven Douglas). Film directing shot by shot : visualizing from concept to screen. [1st ed.]. Studio City, CA: Michael Wiese Productions in conjunction with Focal Press, 1991. xi, 366 s. ISBN 0-941188-10-8.
SHERMAN, Eric. Directing the film : film directors on their art. Los Angeles: Acrobat Books, 1976. xxx, 352 stran. ISBN 0-918226-15-5.
BORDWELL, David. Figures Traced in Light. Berkeley: Univ. of California Press, 2008. XII, 314 s.
Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg. Ed. Katharina HENKEL. Emden: Kunsthalle Emden, 2012. 191 s. ISBN 9783866787247.
ROY, Rajendra, LEWEKE, Anke: The Berlin School: films from the Berliner Schule. New York: Museum of Modern Art, 2013. 112 s.
Film trends:
Berlin School, Romanian new wave, French new extremity, Taiwanese new wave, Argentinian new cinema, etc.
Visuals, work with space, painters, architects:
Daniel Pitín, Vilhelm Hammershoi, Edward Hopper, Andrew Wyeth, Luca Servino, László Rajk, etc.
Evaluation methods and criteria
Minimum required attendance to the class is + 70%
Pass grade is based on the the active participation in guided and non-guided discussions.
The course grade will be calculated as follows:
Attendance - 30%
Participation in the class - 70%
Note
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Schedule for winter semester 2022/2023:
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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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| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
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| Mon | 17:20–18:55 | Vidu GUNARATNA | Room No. 3 Lažanský palác |
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Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Cinema and Digital Media - Directing_1920 (required subject with the possibility of repeat registration)
- Cinema and Digital Media - Directing 2020 (required subject with the possibility of repeat registration)