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Lecturer(s)
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Grečnár Ján, prof. Ing. ArtD.
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Course content
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1. From perception to perception 2. Sound categories 3. Different types of spoken word 4. Film music 5. Movements 6. Sound atmospheres 7. Image and sound binding 8. Sound space and plans The student will learn the basic terminology of sound dramaturgy and directing an audiovisual work. They can apply the theory in analysing selected examples (works) and their practical work.
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Learning activities and teaching methods
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Individual work of students
- Preparation for course credit
- 10 hours per semester
- Participation in classes
- 26 hours per semester
- Home preparation for classes
- 39 hours per semester
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| prerequisite |
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| Knowledge |
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| Prerequisities are not set |
| Prerequisities are not set |
| Skills |
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| Prerequisities are not se |
| Prerequisities are not se |
| learning outcomes |
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| Knowledge |
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| Master the basic principles of working with sound and musical composition in animations. |
| Master the basic principles of working with sound and musical composition in animations. |
| Understands the theory of sound design in animated films. |
| Understands the theory of sound design in animated films. |
| Can analyze and interpret sound symbols and their relationship to the dramaturgy of animation. |
| Can analyze and interpret sound symbols and their relationship to the dramaturgy of animation. |
| Has an orientation in the history and development of sound in animated film. |
| Has an orientation in the history and development of sound in animated film. |
| Gains deeper knowledge of sound effects and techniques used in films. |
| Gains deeper knowledge of sound effects and techniques used in films. |
| Skills |
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| Practically utilizes sound aesthetics to enhance dramatic elements in their animation projects. |
| Practically utilizes sound aesthetics to enhance dramatic elements in their animation projects. |
| Effectively communicates with sound engineers and music composers for creating the soundtracks of their films. |
| Effectively communicates with sound engineers and music composers for creating the soundtracks of their films. |
| Directs the music and sound elements in their animations with consideration for the story's dramatic development. |
| Directs the music and sound elements in their animations with consideration for the story's dramatic development. |
| Collaborates in creating high-quality sound that harmonizes with the overall impression of the animated work. |
| Collaborates in creating high-quality sound that harmonizes with the overall impression of the animated work. |
| Creatively employs sound and music for effective storytelling and emotional impact on the audience in their films. |
| Creatively employs sound and music for effective storytelling and emotional impact on the audience in their films. |
| teaching methods |
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| Knowledge |
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| Activating (Simulation, games, dramatization) |
| Activating (Simulation, games, dramatization) |
| Skills |
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| Dialogic (Discussion, conversation, brainstorming) |
| Dialogic (Discussion, conversation, brainstorming) |
| assessment methods |
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| Knowledge |
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| Analysis of a work of art |
| Analysis of a work of art |
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Recommended literature
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Bláha Ivo. Zvuková dramaturgie audiovizuálního díla.. 3. vydání, Praha: AMU, 2014. ISBN 978-80-7331-303-6.
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BORDWELL, David a Kristin THOMPSON. Umění filmu: úvod do studia formy a stylu. Praha: Nakladatelství Akademie múzických umění v Praze. 2011.
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Elisabeth Weis (Editor), John Belton. Film Sound: Theory and Practice. Columbia University Press, 1985. ISBN 0231056370.
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HUBER, M. David & RUNSTEIN E. Robert. Moder recording Techniques.. 9. vydání, NewYork: Routledge, 2018. ISBN 978-1-138-95437-3.
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Chion, Michel. Film, a sound art. New York: Columbia University Press, 2009. ISBN 978-0-231-13777-5.
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Robin Beauchamp. Designing Sound for Animation. CRC Press, 2013. ISBN 0240824989.
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