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Lecturer(s)
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Course content
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1. Genre Mutations: Sci-Fi, Fantasy, Superhero - World-building and production design, hybrid genres (e.g., sci-fi and family drama), fan culture (Comic-Con, pre-visualization), ethical issues of AI and deepfake acting 2. New Realism and Socio-Historical Drama - Historical revisionism vs. factual precision, post-2000 acting methods (intimate realism), ethics of reconstructing real events, regional trauma narratives (Balkans, Central Europe) 3. Streaming Studios as New Industry Players - Vertical integration of production and distribution, algorithmic curation logic and data-driven greenlighting, impact on cinemas (day-and-date model, exclusive release windows), labor disputes (WGA & SAG-AFTRA 2023) 4. Diversity, Gender, and Representation - Intersectional character analysis, gender parity policies at festivals (50/50 pledges), intimacy coordination and ethical filming standards, the economy of "female-gaze" films in Hollywood and Europe 5. The Future of Film: AI, XR, and Sustainability - Generative AI in pre-visualization, screenwriting, and post-production, virtual production studios (ILM StageCraft, Dark Bay), ESG criteria and carbon footprint of filming, interactive formats and gamification of storytelling
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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 |
|---|
| Knowledge |
|---|
| Basic knowledge in cinematography development. |
| Basic knowledge in cinematography development. |
| Skills |
|---|
| 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 engage in a discussion about a work |
| to engage in a discussion about a work |
| to analyse the artist's handwriting |
| teaching methods |
|---|
| Knowledge |
|---|
| Analysis of a work of art |
| Lecturing |
| Analysis of a work of art |
| Lecturing |
| 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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