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Lecturer(s)
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Course content
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1. Hollywood: Blockbuster 2.0 and Franchise Culture - Transformation of the studio model after 2000, IP and transmedia storytelling, VFX and virtual production, volume LED walls, distribution: global premieres vs. "day-and-date" release 2. New American Independent Cinema and the A24 Model - Strategies of A24, Focus Features, and Neon, festival circuit and platform release, representation of identity, minorities, and queer perspectives, influence of streaming acquisitions 3. Contemporary Europe: Auteur Cinema and Co-Productions - European funding and national film funds, producer-director collaboration, Cannes as a distribution accelerator, application of auteur theory in the 21st century 4. The Global South: Korea, India, Latin America - Rise of Korean cinema and the role of CJ ENM, Tollywood and pan-Indian blockbusters, festival diplomacy of Latin American films, streaming platforms as global distributors 5. Czech Cinema Since 2000 - Institutional framework: Czech Film Fund and Czech Television co-productions, generational shifts and new waves, domestic vs. festival reception, Czech genre experiments (horror, animation-live-action hybrid)
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Learning activities and teaching methods
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Lecturing, Analysis of a work of art
- Participation in classes
- 26 hours per semester
- Home preparation for classes
- 39 hours per semester
- Preparation for course credit
- 10 hours per semester
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| prerequisite |
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| Knowledge |
|---|
| Basic knowledge in cinematography development. |
| Basic knowledge in cinematography development. |
| Skills |
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| Prerequisities are not set |
| Prerequisities are not set |
| learning outcomes |
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| Knowledge |
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| to distinguish the characteristics of the artists discussed |
| to distinguish the characteristics of the artists discussed |
| to characterise genres and their elements |
| to characterise genres and their elements |
| to list potential representative works for the discussed decades |
| to list potential representative works for the discussed decades |
| to ist potential representative authors for the discussed decades |
| to ist potential representative authors for the discussed decades |
| navigate through the fundamental figures of cinematography |
| navigate through the fundamental figures of cinematography |
| Skills |
|---|
| construct one's own argumentation |
| construct one's own argumentation |
| to analyse selected works |
| to analyse selected works |
| critically perceive audiovisual works |
| critically perceive audiovisual works |
| to analyse the artist's handwriting |
| to analyse the artist's handwriting |
| to engage in a discussion about a work |
| to engage in a discussion about a work |
| teaching methods |
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| Knowledge |
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| Analysis of a work of art |
| Lecturing |
| Lecturing |
| Analysis of a work of art |
| assessment methods |
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| Preparation of a presentation, giving a presentation |
| Preparation of a presentation, giving a presentation |
| Oral examination |
| Oral examination |
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Recommended literature
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BORDWELL, David a Kristin THOMPSON. Dějiny filmu: přehled světové kinematografie. V Praze: Akademie múzických umění, 2011. ISBN 978-80-7331-207-7.
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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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Corner, John. Critical ideas in television studies. Oxford: Clarendon Press, 1999. ISBN 0-19-874220-7.
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KOKEŠ, Radomír D. Světy na pokračování: rozbor možností seriálového vyprávění. Praha: Akropolis, 2016. ISBN 9788074701467.
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LEWIS, John. Looking past the screen: case studies in American film history and method. Durham: Duke University Press, 2007. ISBN 978-0-8223-3821-5.
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