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Lecturer(s)
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Kudláč Jakub, prof. Mgr. Ph.D.
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Course content
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- Overwiev of film-music styles after second world war - Examples with special emphasis on new waves in the sixties.
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Learning activities and teaching methods
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Lecturing, Dialogic (Discussion, conversation, brainstorming), Projection (static, dynamic), Analysis of a work of art
- Preparation for course credit
- 30 hours per semester
- Participation in classes
- 13 hours per semester
- Home preparation for classes
- 82 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 set |
| Prerequisities are not set |
| learning outcomes |
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| Knowledge |
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| - 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 |
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| - 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 |
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| Knowledge |
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| Projection (static, dynamic) |
| Projection (static, dynamic) |
| Lecturing |
| Analysis of a work of art |
| Analysis of a work of art |
| Lecturing |
| Dialogic (Discussion, conversation, brainstorming) |
| Dialogic (Discussion, conversation, brainstorming) |
| assessment methods |
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| Written examination |
| Written examination |
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Recommended literature
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Bláha, Ivo. Zvuková dramaturgie audiovizuálního díla. 1. vyd. Praha : Akademie múzických umění, 1995. ISBN 808588304X.
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BROWN, ROYAL S. Overtones and undertones : reading film music. . Berkelery : University of California Press, 1994.
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BURT, GEORGE . The art of film music: special amphasis on Hugo Friedhofer, Alex North, David Raksin, Leonard Roseman. Boston: Notrheastern University Press, 1994.
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CLAIR, RENÉ. The Art of Sound. .
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DODDS,E.R. Řekové a iracionálno. Praha : OIKOYMENH, 2000. ISBN 80-7298-011-4.
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EISENSTEIN,S.M.,PUDOVKIN,V.I.,ALEXANDROV,G.V. A Statement. .
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KRACAUER, SIEGFRIED. Dialogue and Sound. .
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MANVELL ROGER. The Technique of Film Music. . London: Focal Press, 1967.
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MATZNER,A., PILKA,J. Česká filmová hudba. . Praha: Dauphin, 2002. ISBN 80-7272-013-9.
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PUDOVKIN, V.I. Asynchronism as a Principle of Sound Film. .
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