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Introduction to World and European Art Films
Study Course Description
Course Description Statuss:Approved
Course Description Version:7.00
Study Course Accepted:02.02.2024 12:26:21
| Study Course Information | |||||||||
| Course Code: | KSK_101 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| Branch of Science: | Communication Sciences; Communication Theory | Target Audience: | Communication Science | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Dita Rietuma | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Faculty of Social Sciences | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Dzirciema street 16, Rīga, szf rsu[pnkts]lv | ||||||||
| Study Course Planning | |||||||||
| Full-Time - Semester No.1 | |||||||||
| Lectures (count) | 6 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 12 | ||||
| Classes (count) | 4 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 8 | ||||
| Total Contact Hours | 20 | ||||||||
| Part-Time - Semester No.1 | |||||||||
| Lectures (count) | 5 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 10 | ||||
| Classes (count) | 3 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 6 | ||||
| Total Contact Hours | 16 | ||||||||
| Study course description | |||||||||
| Preliminary Knowledge: | It is preferable to master the course Introduction to Film History and Theory. | ||||||||
| Objective: | To create understanding of the theory of art films, the most prominent film directors in the world – authors and their works, which were created from the middle of the 20th century until nowadays. The notion of “art films” created by film theorists of the French “New Wave” and its theory is a thankful method to understand the most important phenomena of the film history, as well as modern film processes. The art film theory allows following up accomplishments of the world-renowned film directors understanding how the method – stylistic techniques, signature peculiarities, thematic of works – of each specific author (director) differ from the supply of commercially oriented cinematograph, which uses stylistic conditions of the classical Hollywood and classical narration techniques. Concept of art films was created in Europe, France at the turn of 1950s–1960s emphasising that signs of a bright, individual signature can be viewed in works of European directors and works of individual authors working in America. Objectivel of the course: to view and analyse works of prominent authors of the 20th century, who have made a significant contribution to the development of the world cinematograph, its multifacetedness and stylistic diversity. To familiarise themselves with accomplishments of the most prominent authors of art films of the end of the 20th century and the 21st century, as well as works of several Asian directors, authors of which have already become important concepts in the world cinematograph. To analyse the most important texts on film theory, which allows to evaluate art film practices in a more multifaceted manner, their relations to classical narrative principles and genre conventions. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Concept of art film, principles of art film theory (François Truffaut, Andrew Sarris). Classical authors, modernism authors. | Lectures | 1.00 | auditorium | |||||
| 2 | Art film and audiences. Audience trends in Latvia. | Lectures | 1.00 | auditorium | |||||
| 3 | Structure of European festivals. Festivals as a system for dissemination of art films. Other dissemination platforms. Netflix example. | Lectures | 1.00 | auditorium | |||||
| 4 | American art film personalities. David Lynch, authorship in different genres, formats and media channels. | Lectures | 1.00 | auditorium | |||||
| 5 | Development of art films since the 1980s – United States (J. Jarmusch, Coen brothers, Q. Tarantino, W. Anderson, T. Burton, etc.). | Lectures | 1.00 | auditorium | |||||
| 6 | European directors of art films – P. Almodavar, L. von Trier, F. Ozon, etc. | Lectures | 1.00 | auditorium | |||||
| 7 | Development of art films in the world (in Asia, etc.). | Classes | 1.00 | auditorium | |||||
| 8 | Latvian films in the context of the European art films. | Classes | 1.00 | auditorium | |||||
| 9 | Topicalities in the European art films – watching a film. | Classes | 1.00 | auditorium | |||||
| 10 | Topicalities in the European art films. Analysis of a film. | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Concept of art film, principles of art film theory (François Truffaut, Andrew Sarris). Classical authors, modernism authors. | Lectures | 1.00 | auditorium | |||||
| 3 | Structure of European festivals. Festivals as a system for dissemination of art films. Other dissemination platforms. Netflix example. | Lectures | 1.00 | auditorium | |||||
| 4 | American art film personalities. David Lynch, authorship in different genres, formats and media channels. | Lectures | 1.00 | auditorium | |||||
| 5 | Development of art films since the 1980s – United States (J. Jarmusch, Coen brothers, Q. Tarantino, W. Anderson, T. Burton, etc.). | Lectures | 1.00 | auditorium | |||||
| 6 | European directors of art films – P. Almodavar, L. von Trier, F. Ozon, etc. | Lectures | 1.00 | auditorium | |||||
| 8 | Latvian films in the context of the European art films. | Classes | 1.00 | auditorium | |||||
| 9 | Topicalities in the European art films – watching a film. | Classes | 1.00 | other | |||||
| 10 | Topicalities in the European art films. Analysis of a film. | Classes | 1.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | To approbate the knowledge gained during lectures and seminars in the independent analysis and presentation of several (3 – 4) films of one author. In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal. | ||||||||
| Assessment Criteria: | • Participation in lectures. • Participation and activity in seminars. • Diploma seminar work – analysis of at least 3 – 4 films of a specific author emphasising the continuity of the author’s style in works of the selected director, (four A4 pages) and presentation. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | • to obtain knowledge about the most prominent art film authors in the world, their creative works and peculiarities of their artistic signature; • to obtain knowledge about latest news in world film processes; • to obtain knowledge about the theory of art films and to comprehend the most important studies in film theory in this area; • to be able to define the link between modern audiovisual culture and theoretical and practical achievements in different periods of time. | ||||||||
| Skills: | • ability to orient themselves in the nature of art film theory and to participate in a discussion on the use of art film theory in modern practices; • ability to analyse the use of different stylistic techniques and film languages in works of different authors; • ability to orient themselves in works of authors at the turn of the 20th and the 21st century; • ability to orient themselves in the most important world film festivals and understand their importance in a broader context; • ability to evaluate the impact of cinematic art on public communication; • skills to analyse works of authors and examples of cinematic art; • skills to interpret the impact of cinematic art on public communication; • skills to use cinematic art message approaches in multimedia communication. | ||||||||
| Competencies: | • competence to evaluate audiovisual works of different authors; • competence to recognise different uses of film language in works of different authors; • competence to orient themselves in classical principles of film language, as well as in the use of alternative modernism principles; • competence to orient themselves in the main art film development stages and prevailing stylistic principles; • competence to see the link between modern audio-visual culture and important stages of development of cinematic art and theoretical and practical achievements in different periods of time; • competence to orient themselves in cinematic film distribution platforms, including the system of European festivals. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Sarris, Andrew. Notes on the Auteur Theory in 1962. In Film Theory and Criticism. Introductory Readings (Fifth Edition). Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999. | ||||||||
| 2 | Wollen, Peter. The Auteur Theory. In: Movies and Methods. Volume I. Edited by Bill Nichols. Berkley, Losangeles, London. University of California Press. 1976 | ||||||||
| 3 | Truffaut, Francois. A Certain Tendency of the French Cinema. In: Movies and Methods. Volume I. Edited by Bill Nichols. Berkley, Losangeles, London. University of California Press. 1976 | ||||||||
| 4 | Bordwell, David. The Art Cinema as a Mode of Film Practice. In Film Theory and Criticism. Introductory Readings (Fifth Edition). Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999. | ||||||||
| 5 | Williams, Linda. Film Bodies: Gender, Genre and Excess. In Film Theory and Criticism. Introductory Readings (Fifth Edition). Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 6 | Rietuma, Dita, Naumanis, Normunds. Personības. Parādības. Personīgi. Rīga: Dienas grāmata, 2009 | ||||||||
| Additional Reading | |||||||||
| 1 | Wood, Robin. Ideology, Genre, Auteur. In Film Theory and Criticism. Introductory Readings (Fifth Edition). Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 2 | Todd, Anthony. Authorship and the films of David Lynch. Aesthetic receptions in contemporary Hollywood, New York: I.B. Taurus Publishers, 2012 | ||||||||
| 3 | Плахов, Андрей. Всего 33. Звёзды мировой кинорежиссуры. Аквилон, 1999. | ||||||||
| 4 | Плахов, Андрей. Режиссеры настоящего. В 2 томах. Amfora, 2008 | ||||||||
| 5 | Rietuma, Dita, Naumanis, Normunds. 500 visu laiku filmu filmas. Rīga: Dienas grāmata, 2015 | ||||||||
