ACTING THEORIES (3 cr.)

This course keeps in mind the needs of the film artist in her work with actors, offering explanations into the actor‘s process. “Theory“ is considered those assumptions implicitly guiding the actor‘s performance, assumptions that vary depending (in part) on the training an actor receives. This course will cover the essentials of both contemporary and historical theories in order to help film directors and other film artists communicate effectively with actors from varying pedagogical and cultural backgrounds. Whenever possible, in-class exercises will be used to illustrate different approaches to acting.

ART AND CULTURE EXCURSIONS (2 cr.)

Weekly visit to imporant Prague cultural institution.

ART AND CULTURE IN CZECH LANDS (2 cr.)

This course takes place both in the fall and in the spring, but students are encouraged (and in the case of FAMU International required) to enroll both semesters considering the second semester complements the first. Over the course of the year we will chronologically examine the basics of Czech history, culture and art (i.e. architecture, selected literature, visual art). In the fall we will cover major developments in Bohemian culture over the last 9 centuries, paying close attention to developments in each region. Students will examine the major artistic figures in Czech art and history both in class and through audiovisual means; we will take a number of field trips to places of interest both in and outside of Prague. The course will continue in the Spring Semester, when we will focus on 20th century artists and contemporary art.

BASIC CZECH (2 cr.)

This survival czech course is focused on understanding basic czech and encourages students to speak Czech in all everyday situations.

CENTRAL EUROPEAN CINEMA (3 cr.)

A History of Central European Cinema explores the most important names, movements and films in Central European film. Primarily, this course chronologically examines Czech, Polish, Slovak, Hungarian and Romanian cinema, but we also discuss the various stylistic developments in each respective country. Considering the vast history and geography of the subject, lectures are primarily informational; details receive less emphasis. A strong accent is placed on the ‘60s, i.e. "New Wave" movements (the Czech New Wave, the Slovak New Wave, the second generation of the Hungarian School, the 3rd Polish Cinema, the Generation ´70 in Romania, etc.) although we also visit each country’s current cinema (chiefly the Hungarian and Romanian New Waves). The films screened (on average two films from every national cinema) are chosen to reflect and illustrate the aforementioned criteria; typically we watch a film from the ´60s and a film from another important era in the country’s cinema.

CINEMATOGRAPHER´S INFLUENCE (3 cr.)

This course explores the cinematographer’s craft in the fields of exponometry, processing and other postproduction technologies. Over the course of the semester we will analyze the various exponometric (photometric) methods and their effectiveness in changing the aesthetics of the cinematographic image. The format of this course is lecture/seminar; students will receive courses in theory in addition to practical assignments.

CIRCULATING WITHIN THE MODERN CINEMATIC IMAGE (4 cr.)

This seminar is a select examination of seven major films in pre-1950 Euro-American film history with special emphasis given to those cinematic moments that might teach and train us in new non-dominatory viewing strategies, in new creative ways of circulating, and in new nonsadistic ways of engaging with the most essential element of the cinema: the aesthetic unit of the image. Film criticism and film philosophy from Leo Bersani-Ulysse Dutoit, Gilles Deleuze, Siegfried Kracauer, Jacques Rancière, Erik Roraback, and Steven Shaviro will be used toward this end. All films are either in English or have English inter-titles or sub-titles. Clips and special features from the DVDs will also be shown. The course is conducted in English.

GUEST LECTURE (2 cr.)

Famous Czech authors´ guest lecture.

HISTORY OF FILM ANIMATION (3 cr.)

Over the course of the semester we will watch and discuss the most important Czech and foreign animated films relative to era, country and individual. I have taught this course for a number of years to Czech students; therefore, I have a solid archive of films that provides an ideal platform for exploring animated film. Our exploration of various films will create a rich panorama of how different countries and artists have shaped the history of animated film.

HISTORY OF DOCUMENTARY FILMMAKING (3 cr.)

Documentary or non-fiction film is a special category of cinema. Currently the term documentary is used primarily for production and distribution purposes, but in addition to this perspective, non-fiction film has its own long tradition due to aesthetical, creative and other institutional specifics. The term is reported to have first been used systematically in 1926 in John Grierson‘s article on Flaherty’s film Moana. In his efforts to express a new nature of this artistic yet non-artificial masterpiece, Grierson suggests referring to all films of this kind as “documentaries.” This course will consider the central “peaks” in the history of non-fiction film and the field’s influence on the whole of cinema (e.g. documentary streams in the avant-garde, neorealism and new waves). This course focuses on the development of the documentary before the mass accession of television, concentrating on European and American examples and influences.

CHAPTERS FROM FILM HISTORY AND CRITICISM (3 cr.)

(Mise-en-scène)

This course provides an introduction to the theory and practice of film with a focus on the development and treatment of mise-en-scène. Students will watch select films in their entirety (English version or subtitled) as well as short clips highlighting particular topics. Through practical and factual analysis of films students will encounter the different stylistic and creative developments that appeared in cinema over the last century. The notion of mise-en-scene as a tool of directing will be critically and analytically examined so as to determine a film’s possible themes and meanings. Analysis will focus on the realist code of thought, but alternative styles will also receive consideration.

PRACTICAL ANALYSIS: DIRECTING (3 cr.)

This course will show students how experienced directors handle some of the most common cinematic situations. Among other things, we will cover introducing the protagonist, first and last shot of the film, chasing scenes, four person table dialogues and characters exiting a car. By analyzing examples of similar situations approached by different directors we will achieve many things: 1) the basic rules concerning how to direct a specific situation (of course we will not force adherence to these rules, but students should be aware of them). 2) The different directing styles and their development over the course of film history. 3) How master directors apply the vast possibilities of film language in unconventional, concise and surprising ways. Through these exercises students will begin to recognize not only the beauty of the story, but also the beauty of specific film techniques and cinematic language. Furthermore, by analyzing their master predecessors’ approaches to common cinematic problems, students will better understand the challenges and hopefully learn to develop interesting and creative solutions.

PRINCIPLES & TECHNOLOGY OF PHOTOGRAPHY (3 cr.)

The practice of still-photography and cinematography is becoming more a branch of applied science and less an empirical craft; therefore, it is increasingly necessary to base the practice on a thorough understanding of photographic materials and processes rather than on rule-of-thumb methods. In a sense, the craft has been simplified by advances in the production of more satisfactory new materials and equipment and the development of new and better methods, but the very diversity of these materials and the tremendously increased scope of modern photography and cinematography combine to demand a more thorough knowledge of fundamentals than was formerly necessary.

PRODUCER´S CRAFT (3 cr.)

This course focuses on the work and art of a film and television producer, the craft of the person who serves as 1) Highly skilled and organized project manager 2) Counterpart and/or partner to director and screenwriter 3) And on occasion, creative author of a project. A producer leads the dialogue in a project (i.e. feature, documentary, newscast, sports magazine, whatever) that ultimately generates a result agreeable to the desired audience in the appropriate country and, ideally, in the broader international landscape, while also bringing in a positive financial reward. The key areas of information for a producer (and this class) are marketing, financing, budgeting, legal and business affairs in the stages of project development, all stages of production and distribution.

SCRIPT ANALYSIS (3 cr.)

One purpose of this course is to study films from a dramaturgical perspective, to demonstrate diverse narrative techniques, dramatic structures and genre forms, and to closely examine the craft of screenwriting. Each film is screened twice: first, in its entirety with an introductory lecture about the film and its creators; the second time, in sequences and scenes accompanied by detailed analysis.

TOOLS OF DIRECTING (2 cr.)

This course will explore the basics of the ‘directable’ elements of cinematic language. Although conventional aspects of cinema such as storytelling and acting are crucial to a quality film, this course will examine why more subtle elements such as image and sound (and how they are constructed together) embody a role of equal importance. Each session we will watch and analyze films (or excerpts of films) and discuss how cinematic language has been employed to either a positive or negative end. We will visit exceptional instances of cinematic construction as well as examples from ‘bad movies,’ for although we need to know what ‘to do,’ sometimes it is more important to know what ‘not to do.’

THE TOOLS OF MOVIE IMAGE DESIGN (3 cr.)

The foundation of the course is the theory of communication, in which the course will primarily investigate the emotional dimensions of communication. From this point the course progresses to emotive creative expression, and -- using a general definition of art - toward the basics of graphic composition and their function as the conveyors of emotional expression. Examples will be derived from composition in photography.

Understanding film as a medium will follow. At this point the course will concentrate primarily on the system of montage as the fundamental means of film expression. Following the determination that the foundation of montage is the film shot, the course will explore the significance and characteristic properties of the film shot, and thereby examine the cameraman‘s influence upon the quality and function of the shot in a film work.

By examining the means in which basic technical demands relate to the film shot, the course will describe the expressive means of the Director of Photography, that enable him/her to become a vital co-creator of the emotional atmosphere of a film work.

VISUAL IMAGERY (2 cr.)

Through lectures, readings and excursions, this course will analyze the concept of light from a multitude of new and interesting perspectives. Students will use the material as a platform to establish their own way of considering light in photography and film, while also applying the concepts to establish new movements in their own creativity. The course will concentrate on the period in history between the end of the 19th Century up to the 1940s.

VISUAL THEORY (3 cr.)

This course explores how visual images (concentrating mainly on photographs and film images) are constructed. It analyzes the use of various aesthetics and design elements used by image-makers and the effects of these elements on the viewer. It is in lecture/seminar format in which students are given simple practical and theoretical assignments that enable them to experience the effects of these dynamics for themselves. There are both slide and video presentations that support the content of the lectures.