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Lecturer(s)
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Gogola Jan, doc. Mgr. MgA.
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Course content
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The starting point will be the following manual, within the decision whether to choose a genre or rather a non-derived style for a given film, organically resulting from the spirit of the intended work. It will be about the ability to create in the line of tradition and the spirit of otherness: -what, as a topic -how, as a form -structure, as narration -why, as in a justification for the origin of the film, in the international social and media context, and as an author's personal motivation for the origin of the film -who, as movie characters -where, as movie locations -when, as movie time -concretization, as film content
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Learning activities and teaching methods
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Monologic (Exposition, lecture, briefing), Projection (static, dynamic)
- Participation in classes
- 120 hours per semester
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| prerequisite |
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| Knowledge |
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| The ability and willingness of students to use in the course of work on film both established documentary means and possibly methods analogous to the procedures staged, literary, performative, artistic and others. |
| The ability and willingness of students to use in the course of work on film both established documentary means and possibly methods analogous to the procedures staged, literary, performative, artistic and others. |
| learning outcomes |
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| Familiarization of the student with traditional and special procedures in a multi-camera exercise and document in a broader methodological and intellectual context. |
| Familiarization of the student with traditional and special procedures in a multi-camera exercise and document in a broader methodological and intellectual context. |
| -theory as social phenomenon -methodology of theory -types of film montage -types of sound post-production -context of professional audiovisual practice |
| -theory as social phenomenon -methodology of theory -types of film montage -types of sound post-production -context of professional audiovisual practice |
| Skills |
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| -thesis as social phenomenon -application of theoretic methods -film montage -sound post-production -interaction with professional audiovisual context |
| -thesis as social phenomenon -application of theoretic methods -film montage -sound post-production -interaction with professional audiovisual context |
| teaching methods |
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| Knowledge |
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| Monologic (Exposition, lecture, briefing) |
| Monologic (Exposition, lecture, briefing) |
| Projection (static, dynamic) |
| Projection (static, dynamic) |
| assessment methods |
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| Analysis of creative works (Music, visual arts, literature) |
| Analysis of creative works (Music, visual arts, literature) |
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Recommended literature
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Hotové i rozpracované verze profesionálních filmů..
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Borstin, Jon. Tajemství filmové řeči. Universum. ISBN 978-80-7617-619-5.
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Bresson, R. Poznámky o kinematografu. Praha : Dauphin, 1998. ISBN 80-86019-68-3.
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Buňuel, L. Do posledního dechu. ISBN 80-903455-0-6.
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Eco, Umberto. Jak napsat diplomovou práci. Olomouc : Votobia, 1997. ISBN 8071981737.
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EJZENŠTEJN, Sergej. Paměti. Odeon. ISBN 01-010-88.
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Epstein, J. Poetika obrazů. Praha : Herman a synové, 1997. ISBN 80-238-1138-X.
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Fellini, F. Dělat film. ISBN 401-22-856.
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Fleischer, Jan. To by mohl být film. ISBN 978-80-7331-156-8.
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Godard, J. L. Príběh(y) filmu. ISBN 80-903678-2-8.
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Godard, Jean-Luc. Texty a rozhovory. Jihlava, JSAF, 2005. ISBN 80-903513-6-0.
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Juráček, P. Deník (1959 - 1974). ISBN 59-044-03.
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K. P. Liessmann. Teorie nevzdělanosti. Academia Praha, 2008. ISBN 978-80-200-1677-5.
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Truffaut, F. Rozhovory Hitchcock Truffaut, ČSFÚ, Praha. 1987.
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