HV_627 Film music III

Faculty of Arts
Spring 2024
Extent and Intensity
1/1/0. 3 credit(s). Type of Completion: k (colloquium).
Teacher(s)
MgA. Vojtěch Dlask, Ph.D. (lecturer)
prof. PhDr. Jana Perutková, Ph.D. (assistant)
Guaranteed by
prof. PhDr. Jana Perutková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: prof. PhDr. Jana Perutková, Ph.D.
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Tue 14:00–15:40 N41, except Tue 16. 4.
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
fields of study / plans the course is directly associated with
there are 6 fields of study the course is directly associated with, display
Course objectives
On the basis of samples and auditory analysis, a shift in the strategy of using music in the films of the Czechoslovak New Wave compared to older Czechoslovak cinematography becomes clear.
Learning outcomes
Students will get to know the aesthetics of the New Wave, they will be able to identify the influences under which it was created and they will be able to distinguish it from other cinematography of the second half of the 20th century.
Syllabus
  • The lectures will focus on the analysis of the counterpoint between the film image and the structure, style and expression of the music composed for it. The analysis of the means chosen by the composers of the selected music will serve to define the expressive possibilities of the connection between music and image. The emphasis is placed on artificial music or music close to artificiality. Of the personalities influencing the form of Czech film music of the given period, the emphasis will be placed primarily on the works of Zdenek Liška, Jiří Šust, Svatopluk Havelka and Luboš Fišer.
Literature
  • COOKE, Mervyn. Dějiny filmové hudby. Translated by David Petrů. 1. vyd. Praha: Casablanca, 2011, 567 s. ISBN 9788087292143. info
  • BORDWELL, David and Kristin THOMPSON. Umění filmu : úvod do studia formy a stylu. Translated by Petra Dominková - Jan Hanzlík - Václav Kofroň. 1. vydání. Praha: Akademie múzických umění v Praze, 2011, 639 stran. ISBN 9788073312176. info
  • ŽALMAN, Jan. Umlčený film. První doplněné vydání. [Praha]: KMa, s. r. o., 2008, 431 stran. ISBN 9788073095734. info
  • LEXMANN, Juraj. Teória filmovej hudby. Bratislava: Ústav hudobnej vedy Slovenskej akadémie vied, 2006, 182 s. ISBN 8089135064. info
  • GODARD, Jean-Luc. Texty a rozhovory. Translated by Helena Bendová - David Čeněk. Vyd. 1. Jihlava: JSAF, 2005, 330 s. ISBN 8090351360. info
  • ANTONIONI, Michelangelo. Kuželník u Tiberu. Translated by Eva Zaoralová. Praha: Odeon, 1989, 294 s. ISBN 8020700250. URL info
Teaching methods
Analysis of different aesthetic approaches to film music. Joint analysis of examples in which the examined aesthetic principle occurs. Instrumentation, form – subtitles, jingles, supporting the situation. General aspects of musical perception and cultural aspects of music. The basic position of the music in relation to the image. Illustration and counterpoint. A game of ambiguous diegesis. The relationship between music and image in different modalities. The new wave and trendiness of contemporary pop to the pursuit of an artistic statement based on cooperation with authors of artificial music. Counterpoint as the basis of filmmaking thinking. Meaning unification of image-music to contrast and complement the meaning with music. The self-evident function of music in Hollywood productions and the non-obviousness in more independent productions, in European cinematography, in the New Wave and music in films around it and beyond. Films without music, Fascination with diegetic sound and its creative possibilities.
Assessment methods
a short analysis of the film music of the given period in the form of an essay or colloquium
Language of instruction
Czech
Further Comments
Study Materials
The course is taught only once.
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