|
Lecturer(s)
|
-
Kudláč Jakub, prof. Mgr. Ph.D.
|
|
Course content
|
- Overwiev of film-music styles before second world war - Main directors treated: Pudovkin, Eisenstein, Fritz Lang, René Clair. - Classical Hollywood as the world leader in effective narration
|
|
Learning activities and teaching methods
|
Lecturing, Dialogic (Discussion, conversation, brainstorming), Projection (static, dynamic), Analysis of a work of art
- Participation in classes
- 13 hours per semester
- Preparation for course credit
- 10 hours per semester
- Home preparation for classes
- 13 hours per semester
|
| prerequisite |
|---|
| Knowledge |
|---|
| No specific prerequisites |
| No specific prerequisites |
| learning outcomes |
|---|
| The student has a knowledge of of the main styles and trends in the film music since adoption of sound film in late twenties. He is able to use the "knowledge base" containing facts about the relation between music and narrative structure of film. |
| The student has a knowledge of of the main styles and trends in the film music since adoption of sound film in late twenties. He is able to use the "knowledge base" containing facts about the relation between music and narrative structure of film. |
| - has an overview of the development of film music until 1950 |
| - has an overview of the development of film music until 1950 |
| - understands different dramaturgical principles and knows when and where they arise |
| - understands different dramaturgical principles and knows when and where they arise |
| - understands the Soviet school of Montage with regard to sound |
| - understands the Soviet school of Montage with regard to sound |
| - understands classic Hollywood and its approach to film music |
| - understands classic Hollywood and its approach to film music |
| - can name milestones in the development of film music |
| - can name milestones in the development of film music |
| Skills |
|---|
| - improve your sense of the dramaturgical use of music in film |
| - improve your sense of the dramaturgical use of music in film |
| - can distinguish and choose the appropriate dramaturgical principle of film music according to the situation |
| - can distinguish and choose the appropriate dramaturgical principle of film music according to the situation |
| - has an extensive catalogue of aesthetically diverse principles of film music |
| - has an extensive catalogue of aesthetically diverse principles of film music |
| - can name the most important directors important for the development of the use of music in film |
| - can name the most important directors important for the development of the use of music in film |
| - can think of music in film as a narrative device |
| - can think of music in film as a narrative device |
| teaching methods |
|---|
| Knowledge |
|---|
| Analysis of a work of art |
| Lecturing |
| Projection (static, dynamic) |
| Projection (static, dynamic) |
| Analysis of a work of art |
| Lecturing |
| Dialogic (Discussion, conversation, brainstorming) |
| Dialogic (Discussion, conversation, brainstorming) |
| assessment methods |
|---|
| Written examination |
| Written examination |
|
Recommended literature
|
-
Bláha, Ivo. Zvuková dramaturgie audiovizuálního díla. 1. vyd. Praha : Akademie múzických umění, 1995. ISBN 808588304X.
-
BROWN, ROYAL S. Overtones and undertones : reading film music. . Berkelery : University of California Press, 1994.
-
BURT, GEORGE . The art of film music: special amphasis on Hugo Friedhofer, Alex North, David Raksin, Leonard Roseman. Boston: Notrheastern University Press, 1994.
-
CLAIR, RENÉ. The Art of Sound. .
-
DODDS,E.R. Řekové a iracionálno. Praha : OIKOYMENH, 2000. ISBN 80-7298-011-4.
-
EISENSTEIN,S.M.,PUDOVKIN,V.I.,ALEXANDROV,G.V. A Statement. .
-
KRACAUER, SIEGFRIED. Dialogue and Sound. .
-
MANVELL ROGER. The Technique of Film Music. . London: Focal Press, 1967.
-
MATZNER,A., PILKA,J. Česká filmová hudba. . Praha: Dauphin, 2002. ISBN 80-7272-013-9.
-
PUDOVKIN, V.I. Asynchronism as a Principle of Sound Film. .
|