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Lecturer(s)
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Pešek Lukáš, MgA.
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Velič Martin, MgA. ArtD.
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Krcha Daniel, MgA. Ph.D.
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Course content
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Under the guidance and coordination of the guarantor, the course is conducted in one group, which is acquainted with the theoretical basis of the topic, the knowledge of which is necessary for the implementation of the exercise. Students then carry out partial exercises in staffs (without defining professions). The created practical works are then analyzed in detail by the teachers and in the students' joint discussion in the seminars. Specific headings and assignments: - Parallel narratives without jumps in time, - parallel narratives with jumps in time, - sound composition, - cross-cutting, - conflict.
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Learning activities and teaching methods
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Projection (static, dynamic), Teamwork, Analysis of a work of art
- Preparation for examination
- 50 hours per semester
- Home preparation for classes
- 12 hours per semester
- Participation in classes
- 13 hours per semester
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| prerequisite |
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| Knowledge |
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| Prerequisites not specified |
| Prerequisites not specified |
| Skills |
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| Prerequisites not specified |
| Prerequisites not specified |
| learning outcomes |
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| Knowledge |
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| Students are able to create a practical work. |
| Students are able to create a practical work. |
| - defines the principles of parallel narrative without jumps in time |
| - defines the principles of parallel narrative without jumps in time |
| - explains the principles of parallel narrative with time jumps |
| - explains the principles of parallel narrative with time jumps |
| - define the rules of sound composition |
| - define the rules of sound composition |
| - explains the concept of cross-cutting |
| - explains the concept of cross-cutting |
| - list the phases of conflict |
| - list the phases of conflict |
| Skills |
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| - uses parallel narration in screenwriting |
| - uses parallel narration in screenwriting |
| - builds a story with a parallel narrative with jumps in time |
| - builds a story with a parallel narrative with jumps in time |
| - uses a soundtrack in the film |
| - uses a soundtrack in the film |
| - works with cross-cutting |
| - works with cross-cutting |
| - exposes a full-blown conflict |
| - exposes a full-blown conflict |
| teaching methods |
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| Knowledge |
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| Analysis of a work of art |
| Teamwork |
| Teamwork |
| Analysis of a work of art |
| Projection (static, dynamic) |
| Projection (static, dynamic) |
| assessment methods |
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| Analysis of creative works (Music, visual arts, literature) |
| Workplace supervision |
| Workplace supervision |
| Analysis of creative works (Music, visual arts, literature) |
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Recommended literature
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BLOCK Bruce. The visual story: creating the structure of film, tv, and digital media. New York: Focal Press, 2013. ISBN 9780240807799.
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FIELD Syd. Jak napsat dobrý scénář: základy scenáristiky.. Rybka. Praha, 2007. ISBN 978-80-87067-65-9.
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FOSTER Thomas C. Jak číst film: cinefilův průvodce po světě pohyblivých obrázků.. Brno: Host, 2017. ISBN 978-80-7577-183-4.
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