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Lecturer(s)
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Course content
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1. animated film language and framing of the film image 2. specifics of animated film 3. mise-en-scene in animated film 4. technology and visuality in animated film 5. narrative - beginning, middle and end 6. camera movement in animated films 7. example analysis of a selected short animated film 8. example analysis of a selected animated feature film 9. creating picture scripts according to the assignment
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Learning activities and teaching methods
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Dialogic (Discussion, conversation, brainstorming), Analysis of a work of art
- Home preparation for classes
- 39 hours per semester
- Participation in classes
- 26 hours per semester
- Preparation for course credit
- 10 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. |
| Skills |
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| Prerequisities are not set |
| Prerequisities are not set |
| learning outcomes |
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| Knowledge |
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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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| Analysis of a work of art |
| Dialogic (Discussion, conversation, brainstorming) |
| 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 seminar paper |
| Analysis of a work of art |
| Analysis of a work of art |
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Recommended literature
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Francois Truffaut. Rozhovory Hitchcock Truffaut. Praha, Čs.F.Ú., 1987.
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Hodrová, Daniela. Chvála schoulení. Malvern Praha, 2011. ISBN 9788086702919.
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Hooks, Ed. Acting for animators. London: Routledge, 2011. ISBN 978-0-203-81622-6.
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LYONS, Jonathan. Comedy for animators. Burlington, MA: Focal Press. 2015.
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McCULLEN, Sam. Picturebook Makers. PICTUS. 2022.
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Norštejn, Jurij. Sníh na trávě I. AMU Praha, 2013. ISBN 978-80-7331-124-7.
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PLAZEWSKI, Jerzy. Filmová řeč. Orbis, Praha, 1967.
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