FF:TIM_B_021 Filmology - Course Information

TIM_B_021 Filmology. Language of Film and New Media I

Extent and Intensity

1/1/0. 4 credit(s). Type of Completion: zk (examination).

Teacher(s)

Mgr. Marika Kupková, Ph.D. (lecturer), doc. PhDr. Martin Flašar, Ph.D. (deputy)

Guaranteed by

Mgr. Marika Kupková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts

Timetable

Thu 16:00–17:40 K24

Prerequisites (in Czech)

Přehled o základních pojmech vážících se v současnosti k umění nových médií.

Course Enrolment Limitations

The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 150 student(s).
Current registration and enrolment status: enrolled: 20/150, only registered: 0/150, only registered with preference (fields directly associated with the programme): 0/150

fields of study / plans the course is directly associated with

• Theory of Interactive Media (programme FF, B-INME_) (3)

Course objectives

The two-semester course introduces film as a variable discursive subject, which is dependent on social and cultural relations, user regimes and political and power interests. All the influences outlined meet and grow in the technological development of the medium. We will deal more specifically with the 19th-century media entertainment, transition from silent to sound film, wide-screen formats, color in film, television, widespread film and digital film. We are thus interested in those moments when film has features and manifestations of the new media when it is redefined with the announced “movie death”. The lecture will provide an insight into archaeology of the film medium. Another area of the course focuses on parallel interpretational frameworks of the film because another interpretive apparatus for identical production has a filmological approach, another art historical. Part of the course also comprises familiarizing with film productions outside of professional cinema and film industry. This is a phenomenon of experimental film, gallery film, amateur and family film, etc.

Learning outcomes

After completing the course the student will be able to:
- Describe the relationship of film to the new media category
- Characterize selected interpretative strategies that include film and art of moving images in social, economic, and technological contexts
- Interpret specific techniques and concepts of working with moving images
- Be aware of the importance of media research in a wider socio-cultural context
- Get oriented in the field discourses (history of fine arts, film studies, visual studies), which in parallel investigate some similar phenomena and production of new media
- Be able to characterize interpretation concepts within media archaeology.

Syllabus

• - Media archaeology: basic expression concepts (Rick Altman, Thomas Elsaesser and Siegfried Zielinsky)
• - History of media practice
• - Medium as an apparatus
• - Technology milestones that have greatly influenced the development of audio-visual creation such as the onset of sound, the onset of colour film and wide-angel formats, the expansion of magnetic image and sound recording, digital technology.
• - Redefining movie media in a developmental perspective
• - Blending industry discourses within the framework of fine art, film and new media; examples of art projects that are on the border of these fields.
• - The influence of historical contexts on specific aesthetic and perceptual standards.
• Intermediate intersections: film, television, fine arts
• Self-reflexive media.
• - Digital film; the turnover of contemporary film to pre-cinematographic period; digital animation.

Literature

• ZIELINSKI, Siegfried. Audiovisions : cinema and television as entr'actes in history. Translated by Gloria Custance. Amsterdam: Amsterdam University Press, 1999.
• KESNER, Translated by Lucie Vidmarová - Ladislav Kesner. Vyd. tohoto souboru 1. Jinočany: H & H, 1997.
• BALSOM, Erika: Exhibiting Cinema in Contemporary Art . Amsterdam University Press 2013.
• Vizuální teorie : současné anglo-americké myšlení o výtvarných dílech. Edited by Ladislav.
• BAXANDALL, Michael. Stíny a světlo: umění a vizuální zkušenost. Translated by Pavel Pšeja. Vyd. 1. Brno: Barrister & Principal, 2003.
• FILIPOVÁ, Marta a Matthew RAMPLEY. Možnosti vizuálních studií: obrazy, texty, interpretace. 1. vyd. Brno: Masarykova univerzita, Filozofická fakulta, Seminář dějin umění, 2007.
• BOURRIAUD, Nicolas. Postprodukce: kultura jako scénář: jak umění nově programuje současný svět. Translated by Petr Turek. Vyd. 1. Praha: Tranzit, 2004.
• BELTING, Hans. Konec dějin umění. Translated by Jan Hlavička. Vyd. 1. Praha: Mladá fronta, 2000.
• RUSH, Michael. Video art. London: Thames & Hudson, 2003.
• CUBITT, Sean. Videography, Video Media As Art And Culture. New York: Routledge, 1993
• MARVIN, Carolyn. When old technologies were new : thinking about electric communication in the late nineteenth century. 1st issued as an Oxford Univ. New York: Oxford University Press, 1990.
• KITTLER, Friedrich A. Gramophone, film, typewriter : Grammophon, Film, Typewriter (Orig.). Translated by Geoffrey Winthrop-Young - Michael Wutz. Stanford, California: Stanford University Press, 1999.
• SZCZEPANIK, Petr. (ed.) Nová filmová historie. Antologie současného myšlení o dějinách kinematografie a audiovizuální kultury. Praha: Herrmann a synové, 2004.
• MAZANEC, Martin, Mizanscéna kina, in: Ptáček, Luboš (ed.), Současný český a slovenský film - pluralita, estetických, kulturních a ideových konceptů. Univerzita Palackého, Olomouc 2010.
• HICKETHIER, Knut: O dějinách televize jako dějinách sledování: příklad Německa. Předběžné úvahy. In: Szczepanik, Petr (ed.): Nová filmová historie. Praha: Herrmann a synové, 2004..

Teaching methods

Lecture.

Assessment methods

test

Language of instruction

Czech

Further Comments

Study Materials
The course is taught annually.

• Enrolment Statistics (Autumn 2022, recent)
  
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