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Lecturer(s)
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Course content
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1. Film Language of Animated Film and Framing of Film Images. 2. Specifics of Animated Film. 3. Mise-en-scene in Animated Film. 4. Technology and Artistry in Animated Film. 5. Narrative - Beginning, Middle, and End. 6. Camera Movement in Animated Films. 7. Exemplary Analysis of a Selected Short Animated Film. 8. Exemplary Analysis of a Selected Full-length Animated Film. 9. Creating Visual Storyboards According to Assignments.
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Learning activities and teaching methods
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Dialogic (Discussion, conversation, brainstorming), Analysis of a work of art
- Participation in classes
- 24 hours per semester
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| prerequisite |
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| Knowledge |
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| Basic knowledge of means of expression in cinematography. |
| Basic knowledge of means of expression in cinematography. |
| learning outcomes |
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| the student can list shot sizes and their common uses |
| the student can list shot sizes and their common uses |
| the student can list the specifics of animated film |
| the student can list the specifics of animated film |
| the student can analyse the mise-en-scene of an animated film. |
| the student can analyse the mise-en-scene of an animated film. |
| the student can divide an animated film into its different parts according to Aristotle |
| the student can divide an animated film into its different parts according to Aristotle |
| the student can indicate how different camera movements/motions affect the viewer |
| the student can indicate how different camera movements/motions affect the viewer |
| Skills |
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| knows how to create a storyboard using different sizes of film picture framing |
| knows how to create a storyboard using different sizes of film picture framing |
| knows how to work, using the specifics, and strengths of animation in their storyboards |
| knows how to work, using the specifics, and strengths of animation in their storyboards |
| works consciously with mise-en-scene in a storyboard |
| works consciously with mise-en-scene in a storyboard |
| is able to use knowledge of basic narrative structure in his/her storyboard |
| is able to use knowledge of basic narrative structure in his/her storyboard |
| works with the so-called "psychology of the camera" in his storyboard by means of movements or rakurz |
| works with the so-called "psychology of the camera" in his storyboard by means of movements or rakurz |
| teaching methods |
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| Knowledge |
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| Dialogic (Discussion, conversation, brainstorming) |
| Analysis of a work of art |
| Dialogic (Discussion, conversation, brainstorming) |
| Analysis of a work of art |
| assessment methods |
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| Analysis of a presentation given by the student |
| Analysis of a presentation given by the student |
| Analysis of seminar paper |
| Analysis of a work of art |
| Analysis of a work of art |
| Analysis of seminar paper |
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Recommended literature
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Bordwell, David a Kristin Thopson. Umění filmu: úvod do studia formy a stylu. Praha, 2011. ISBN 978-80-7331-217-6.
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Bordwell, David. On the History of Film Style. Harvard, 1997.
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Bordwell, David. Poetics of cinema. New York : Routledge, 2008. ISBN 978-0-415-97779-1.
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Dick, Bernard F. Anatomy of film. 6th ed. Boston : Bedford/St. Martin's ; Basingstoke : Palgrave Macmillian, 2010. ISBN 978-0-312-48711-9.
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Furniss,M. Art in Motion: Animation Aesthetics. John Libbey & Company, 2008.
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Gregor, Lukáš. Vzhůru do nekonečna a ještě dál!. VeRBuM, Zlín, 2013. ISBN 978-80-87500-43-9.
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Gregor, Lukáš. Základy analýzy animované filmu. Univerzita Tomáše Bati ve Zlíně, 2011. ISBN 978-807454-112-4.
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Chodolenko, A. The Illusion of Life 2: More Essays on Animation. University of Illions Press, 2007.
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KOKEŠ, Radomír D. Rozbor filmu. Brno: Filozofická fakulta Masarykovy univerzity, 2015. ISBN 978-80-210-7756-.
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Metz, Christian. Film language: a semiotics of the cinema. Chicago: The University of Chicago Press, 1991. ISBN 0-226-52130-3.
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Wells, P. Understanding Animation. Routledge, 1998.
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