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Lecturer(s)
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Bébarová Jana, Mgr. Ph.D.
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Course content
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Credit is awarded after an active participation at a selected Czech/Slovak event and its consequent written evaluation.
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Learning activities and teaching methods
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Dialogic (Discussion, conversation, brainstorming), Projection (static, dynamic), Analysis of a work of art, Individual work of students
- Participation in classes
- 13 hours per semester
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| prerequisite |
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| Knowledge |
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| Basic knowledge of the history and theory of film and audiovisual culture. |
| Basic knowledge of the history and theory of film and audiovisual culture. |
| learning outcomes |
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| Students should be able to think independently, critically evaluate the presented works from the history of film and not only present their opinion, but also support it with arguments. It should not be a problem for them to read foreign literature and reviews, to individually develop an orientation in the subject matter. |
| Students should be able to think independently, critically evaluate the presented works from the history of film and not only present their opinion, but also support it with arguments. It should not be a problem for them to read foreign literature and reviews, to individually develop an orientation in the subject matter. |
| Students can describe and characterize individual professional actions. They are familiar with the professional activities on offer (masterclasses, Industry sections of international film festivals). They can name and describe the differences between the training programmes of professional organisations (Creative Europe - Media, Scripteast, Midpoint, etc.). They can characterise the organisation of time at international film events - they can distinguish film markets from distribution markets and creative pitch activities. They can describe what "pitching" is. |
| Students can describe and characterize individual professional actions. They are familiar with the professional activities on offer (masterclasses, Industry sections of international film festivals). They can name and describe the differences between the training programmes of professional organisations (Creative Europe - Media, Scripteast, Midpoint, etc.). They can characterise the organisation of time at international film events - they can distinguish film markets from distribution markets and creative pitch activities. They can describe what "pitching" is. |
| Skills |
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| - Students use the acquired knowledge to complete selected activities (participate in Industry sections) - Students apply the acquired knowledge and adequately select Industry and Training activities - They summarize in writing their individual experience of the selected activities in the form of an essay - They can actively prepare for their pitching |
| - Students use the acquired knowledge to complete selected activities (participate in Industry sections) - Students apply the acquired knowledge and adequately select Industry and Training activities - They summarize in writing their individual experience of the selected activities in the form of an essay - They can actively prepare for their pitching |
| teaching methods |
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| Knowledge |
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| Dialogic (Discussion, conversation, brainstorming) |
| Analysis of a work of art |
| Analysis of a work of art |
| Dialogic (Discussion, conversation, brainstorming) |
| Individual work of students |
| Individual work of students |
| Projection (static, dynamic) |
| Projection (static, dynamic) |
| assessment methods |
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| Conversation |
| Conversation |
| Analysis of creative works (Music, visual arts, literature) |
| Analysis of creative works (Music, visual arts, literature) |
| Preparation of a presentation, giving a presentation |
| Systematic observation of the student |
| Preparation of a presentation, giving a presentation |
| Analysis of a presentation given by the student |
| Analysis of a presentation given by the student |
| Systematic observation of the student |
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Recommended literature
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DE VALCK, Marijke (ed). Film Festivals.. Routledge, 2016. ISBN 978-0415712477.
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EDWARDS Rona, SKERBELIS Monika. The Complete Filmmaker's Guide to Film Festivals: Your All Access Pass to launching your film on the festival circuit.. Michael Wiese Productions, 2012. ISBN 978-1615930883.
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HOLLAND Christopher. Film Festival Secrets: A Handbook For Independent Filmmakers.. Stomp Tokyo, 2008. ISBN 978-0971835610.
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IORDANOVA, Dina Iordanova (ed.). The Film Festival Reader, St Andrews Film Studies.. 2015. ISBN 978-1908437082.
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KURZ, Sibylle. Pitch it!.. V Praze: Akademie múzických umění, 2013. ISBN 978-80-7331-284-8.
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WONG HING-YUK, Cindy. . Film Festivals: Culture, People, and Power on the Global Screen.. Rutgers University Press, 2011. ISBN 978-0813551210.
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