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Předmět Moderní filmový obraz (AAALE005A)

Na serveru studentino.cz naleznete nejrůznější studijní materiály: zápisky z přednášek nebo cvičení, vzorové testy, seminární práce, domácí úkoly a další z předmětu AAALE005A - Moderní filmový obraz, Filozofická fakulta, Univerzita Karlova v Praze (UK).

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Další informace

Sylabus

1Introduction2Jean-Luc Godard and Cinematic Histories Screening : Jean-Luc Godard, Histoire(s) du cinéma (2007). Post-film talk.3Buster Keaton and the Aesthetic of DizzinessPre-film talk and screening: Clips from Our Hospitality (1923, 75 min., dir. Buster Keaton and co-dir. John Blystone). Sherlock, Jr. (1924, silent with English intertitles, 44 min. dir. Buster Keaton). The General (1926, silent with English intertitles, 75 min., dir. Buster Keaton and Clyde Bruckman).Rdgs: L. Bersani and U. Dutoit: Arts of Impoverishment pp. 1-9.E. Roraback: "Layering Dizziness in the Autopoietic Cinema of Buster Keaton"; revised version of a paper given at the 31st annual conference of the International Association for Philosophy and Literature Nicosia, Cyprus, Europe, 4-9 June 2007; conference theme: Layering: Textual, Visual, Spatial, Temporal.S. Shaviro: The Cinematic Body, pp. 255-69.4German Expressionism, the Political & the Heroizing Epic IPre-film talk and screening:The Ring: Siegfried (Die Nibelungen: Siegfried, 1924, 143 min., German intertitles with English subtitles, dir. Fritz Lang).5German Expressionism, the Political & the Heroizing Epic IIPre-film talk and screening: The Ring: Kriemhild's Revenge (Die Nibelungen: Kriemhild'sRevenge, 1924, 148 min., German intertitles with English subtitles, dir. Fritz Lang).6Post-film lecture/discussion on Die Nibelungen (The Ring)Rdgs: D. Cook: A History, pp. 113-15.S. Kracauer: The German Film, pp. 91-97.E. Roraback: "The Mediatization of German Expressionism & the Politics of Filmic Adaptation: Lang's Die Nibelungen (The Ring, 1924)". Revised version of a lecture given at the 30th Annual conference of the International Association of Philosophy and Literature, Freiburg, Germany, 4-9 June 2006. German Expressionism and the Socio-EconomicPre-film talk and screening: The Last Laugh (Der letzte Mann, 1924, silent with English intertitles, 91 minutes, dir. F.W. Murnau).Post-film lecture/discussion on The Last LaughReadings: L. Bersani and U. Dutoit: Arts of Impoverishment pp. 1-9.D. Cook: A History of Narrative Film, pp. 115-23.S. Kracauer: From Caligari to Hitler: A Psychological History of German Film, pp. 99-106. E. Roraback: "The Social and the Negative: Murnau's Der letzte Mann (The Last Laugh, 1924) and Walter Benjamin's 'Angelus Novus'"; revised version of a talk given at a conference in Prague, October, 2007.S. Shaviro: The Cinematic Body, pp. 255-69.7Silent Film and the Close-Up Pre-film lecture and screening: The Passion of Joan of Arc (La Passion de Jeanne d'Arc, 1928, 82 min., French intertitles with English subtitles, dir. Carl Th. Dreyer).Post-film lecture/discussion on The Passion of Joan of ArcRdgs: S. Barber: The Screaming Body, pp. 5-32.D. Cook: A History, pp. 372-73.E. Roraback: "Autopoietic World-Forming Cinema and Spiritual Life: Dreyer's Early-Style La Passion de Jeanne d'Arc (The Passion of Joan of Arc, 1928)". Revised version of a lecture given at The Evergreen State College (USA, 1/2007).8Silent Soviet Film, Dialectical Montage and the Camera-EyePre-film lecture, screening and post-film lecture/discussion: Man with a Movie Camera (1929, 68 min., Russian intertitles with English subtitles, dir. Dziga Vertov).Rdgs: D. Cook: A History, pp. 133-35.G. Deleuze: pp. 39-43 in Cinema 1: The Movement-Image.E. Roraback, "The Whirligig of Autopoietic Cinema: Vertov's Man with a Movie Camera, 1929".9Orson Welles, American Film & the Advent of the Time-ImagePre-film lecture and screening: Citizen Kane (1941, 119 min., dir. Orson Welles).10Post-film lecture/discussionRdgs: D. Cook: A History, pp. 391-420.G. Deleuze: Cinema 2, pp. 98-155.E. Roraback: "Cosmic Autopoietic Self-Reference, Participation & Actuality: Citizen Kane (1941)". Revised version of a lecture given at the University of Szeged (Hungary, 2003).11The Lost Nirvana and Orson Welles's Lost Magnum OpusPre-film lecture and screening: The Magnificent Ambersons (1942, 82 min.). 12Post-film lecture and discussion of The Magnificent AmbersonsRdgs: D. Cook: A History, pp. 391-420.G. Deleuze: Cinema 2, pp. 98-155.E. Roraback: "Autopoietic & Multisensorial Evocations & Provocations of Lost Paradise: Welles's The Magnificent Ambersons (1942)". Revised version of a lecture given at the University of Constance (Germany, 2006).F. Truffaut: "Foreword" to André Bazin's Orson Welles: A Critical View, pp.1-27.

Literatura

Extracts from the following critical and theoretical texts will be available in a course-reader, or adduced by the instructor in the class: Barber, Stephen: The Screaming Body (Creation, 1999).Bersani, Leo and Ulysse Dutoit: Arts of Impoverishment: Beckett, Rothko, Resnais (Harvard, 1993).Conrad, Peter: The Stories of His Life: Orson Welles (Faber & Faber, 2003).Cook, David A.: A History of Narrative Film (Norton, 1996).Deleuze, Gilles: Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minnesota, 1986). ____________. Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minnesota 1989).Kracauer, Siegfried: From Caligari to Hitler: A Psychological History of the German Film (Princeton, 1947).Lambert, Gregg: "Cinema and the Outside" and "The Brain is the Screen: An Interview with Gilles Deleuze" in Flaxman, Gregory, ed., The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minnesota, 2000).Roraback, Erik S.: a select band of essays on D.W. Griffith, on Buster Keaton, on Fritz Lang, on Carl Theodor Dreyer, on Dziga Vertov, on Sergei Eisenstein and on Orson Welles from a work in progress: Cinema as an Autopoietic System.Shaviro, Steven: The Cinematic Body, Theory Out of Bounds, Volume 2 (Minnesota, 1993).Truffaut, François: "Foreword" to André Bazin's Orson Welles: A Critical View (Acrobat, 1978), pp. 1-27.

Garant

Erik Roraback, Ph.D.

Vyučující

Erik Roraback, Ph.D.