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Introduction to the World Film History and Theory II

Study Course Description

Course Description Statuss:Approved
Course Description Version:4.00
Study Course Accepted:26.10.2020
Study Course Information
Course Code:KSK_255LQF level:Level 6
Credit Points:2.00ECTS:3.00
Branch of Science:Communication SciencesTarget Audience:Communication Science
Study Course Supervisor
Course Supervisor:Dita Rietuma
Study Course Implementer
Structural Unit:Faculty of Communication
The Head of Structural Unit:Anda Rožukalne
Contacts:Riga, 16 Dzirciema Street, kfkoatrsu[pnkts]lv, +371 67409183
Study Course Planning
Full-Time - Semester No.1
Lectures (count)6Lecture Length (academic hours)2Total Contact Hours of Lectures12
Classes (count)4Class Length (academic hours)2Total Contact Hours of Classes8
Total Contact Hours20
Part-Time - Semester No.1
Lectures (count)5Lecture Length (academic hours)2Total Contact Hours of Lectures10
Classes (count)3Class Length (academic hours)2Total Contact Hours of Classes6
Total Contact Hours16
Study course description
Preliminary Knowledge:
The study course “Introduction to the World Film History and Theory I” has been mastered.
Objective:
To familiarise students with world cinematic art history to ensure extension of the general humanistic outlook of students. To deepen understanding of the modern history of communication and media, and importance in the context of development of European culture. To familiarise with the most important stages, stylistic trends of development of the world cinematic art and the most important representatives of film culture – their canonical works. To learn and to be able to analyse the most brilliant examples of cinematic art, which characterise the development of film history, as well as to develop understanding of the development of film language and its effects on the modern audio-visual communication space. To provide information about the world film history and its development stages. To give an understanding of basic principles of film language. The course familiarises with the development of cinema in the second half of the 20th century, emphasising the dominant element of modernism trend in the European film history of 1950s and 1960s, which appears as an opposition to the classical Hollywood style, as well as it echo in world cinematography.
Topic Layout (Full-Time)
No.TopicType of ImplementationNumberVenue
1Alfred Hitchcock – between the classical Hollywood style and authorship. Signature style within a studio system.Lectures1.00auditorium
2Genres: peculiarities of the thriller genre and the thrill mechanism in films by Alfred Hitchcock.Classes1.00auditorium
3Development of neorealism in Italy in 1940s–1950s.Lectures1.00auditorium
4Authors of Italian films – Federico Fellini, Michelangelo Antonioni and others. Culmination of Italian art films in 1950s–1970s.Lectures1.00auditorium
5Modernism trends in European cinema. Author theories and birth of the French New Wave in 1950s–1960s – activities of François Truffaut, Jean-Luc Godard and others.Classes1.00auditorium
6Reverberations of New Wave (modernism trends) in Europe, as well as in Latvia (examples of films by Rolands Kalniņš).Classes1.00auditorium
7Impact of author theory in the United States and the New Hollywood at the turn of 1960s–1970s.Lectures1.00auditorium
8Beginning of the blockbuster era in Hollywood in 1970s–1980s.Classes1.00auditorium
9Film development in Europe and the United States at the turn of the 20th and the 21st century.Lectures2.00auditorium
Topic Layout (Part-Time)
No.TopicType of ImplementationNumberVenue
1Alfred Hitchcock – between the classical Hollywood style and authorship. Signature style within a studio system.Lectures1.00auditorium
4Authors of Italian films – Federico Fellini, Michelangelo Antonioni and others. Culmination of Italian art films in 1950s–1970s.Lectures1.00auditorium
5Modernism trends in European cinema. Author theories and birth of the French New Wave in 1950s–1960s – activities of François Truffaut, Jean-Luc Godard and others.Classes1.00auditorium
6Reverberations of New Wave (modernism trends) in Europe, as well as in Latvia (examples of films by Rolands Kalniņš).Classes1.00auditorium
7Impact of author theory in the United States and the New Hollywood at the turn of 1960s–1970s.Lectures1.00auditorium
8Beginning of the blockbuster era in Hollywood in 1970s–1980s.Classes1.00auditorium
9Film development in Europe and the United States at the turn of the 20th and the 21st century.Lectures2.00auditorium
Assessment
Unaided Work:
To approbate the knowledge learned during lectures and seminars in the independent analysis (four A4 pages) and presentation of a film.
Assessment Criteria:
• Participation in lectures. • Participation and activity in seminars. • Seminar diploma paper – film presentation and analysis (four A4 pages).
Final Examination (Full-Time):Exam (Written)
Final Examination (Part-Time):Exam (Written)
Learning Outcomes
Knowledge:As a result of mastering the course students: • Will recognise and understand main stages of development and stylistic directions of cinematic art (until 1940s–1950s). • Will analyse the interaction between cinematic art and development of society. • Will name and characterise the most important directions of cinematic art, as well as theoretical analysis approaches. • Will understand the principles of formation of film language and its use in different periods of time and in traditions of different national schools.
Skills:As a result of mastering the course students will have obtained: • Skill to recognise different cinematic art schools. • Skill to evaluate the impact of cinematic art on modern mass media. • Skills to analyse film 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:As a result of mastering the course students: • Will evaluate audio-visual works in films, which developed starting from 1940s. • Will recognise different uses of film language. • Will orient in classical principles of film language, as well as in alternative use of modernism principles. • Will understand the main development stages of cinematic art and domineering stylistic principles. • Will 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.
Bibliography
No.Reference
Required Reading
1Sklar, Robert. Film. An International History of the Medium. Themes and Hudson: London, 1993
2Neimes, Jil (edited by). An Introduction to Film Studies. Routledge: New York, 1996
3Bordwell, David, Thompson, Kristin. Film Art. An Introduction. McGraw-Hill, Inc. 1993
4Abrams, Nathan, Ian Bell, Udris, Jan. Studying Film. Oxford University Press: New York., 2001
5Villarejo, Amy. Film Studies. The Basic. Routledge, 2007
Other Information Sources
1Filmas:
2Dubultā apdrošināšana/Double Indemnity (1944)., rež. Billijs Vailders/Billy Wilder.
3Sanseta bulvāris/Sunset Boulvard (1950), rež. Billijs Vailders/Billy Wilder.
4Vertigo (1958), rež. Alfreds Hičkoks/Alfred Hitchcock.
5Psycho/Psiho (1960), rež. Alfreds Hičkoks/Alfred Hitchcock.
6Putni/The Birds (1963), rež. Alfreds Hičkoks/Alfred Hitchcock.
7Logs uz sētu/Rear Window (1954), rež. Alfreds Hičkoks/Alfred Hitchcock.
8Ceļš/La Strada (1954), rež. Federiko Fellīni/Federiko Fellini.
9Kabīrijas naktis/Nights of Cabiria (1957), rež. Federiko Fellīni/Federiko Fellini.
10La Dolce Vita (1960), rež. Federiko Fellīni/Federiko Fellini.
118 ½ (1963), rež. Federiko Fellīni/Federiko Fellini.
12Amarcord (1973, ) rež. Federiko Fellīni/Federiko Fellini.
13Nakts/La notte (1961), rež. Mikelandželo Antonioni/Mikelangelo Antonioni.
14Blow-up (1966), rež. Mikelandželo Antonioni/Mikelangelo Antonioni.
15Līdz pēdējam elpas vilcienam/Breathless (1960), rež. Jean Luc Godard/Žans Liks Godārs.
16Weekend (1967), rež. Jean Luc Godard/Žans Liks Godārs.
17Trakais Pjēro/Pierrot le Fou (1965), rež. Jean Luc Godard/Žans Liks Godārs.
18400 sitieni/The 400 Blows (1959), rež. François Truffaut/Fransuā Trifo.
19Pērn Marienbādē/Last Year at Marienbad (1961), rež. Alain Resnais/Alēns Renē.
20Zemeņu lauks/Wild Strawberries (1957), rež. Ingmars Bergmans/Ingmar Bergman.
21Persona/Persona (1966), rež. Ingmars Bergmans/Ingmar Bergman.
22Rozmarijas bērns/Rosemary's Baby (1968), rež. Romans Polaņskis/Roman Polanski.
23Panika Adatu parkā/The Panic in Needle Parks (1971), rež. Džerijs Šacbergs/Jerry Schatzberg.
24Duelis/Duel (1971), rež. Stīvens Spīlbergs/Steven Spielberg.
25Žokļi/The Jaws (1975), rež. Stīvens Spīlbergs/Steven Spielberg.
26Interneta avoti:
27http://www.davidbordwell.net
28http://www.filmsite.org/filmh.html
29Жорж Садуль. Всеобщая история кино http://zmier.livejournal.com/108763.html
302001: Kosmiskā odiseja/2001: A Space Odyssey (1968), rež. Stenlijs Kubriks/Stanley Kubrick.
31Citplanētietis/E.T. (1982), rež. Stīvens Spīlbergs/Steven Spielberg.
32Pa asmeni skrejošais/Blade Runner (1982), rež. Ridlijs Skots/Ridley Scott.
33Parīze, Teksasa/Paris, Texas (1984), rež. Vims Venderss/Wim Wenders.
34Lubene/Pulp Fiction (1994), rež. Kventins Trantīno/Quentin Tarantino.
35Cīņas klubs/Fight Club (1999), rež. Deivids Finčers/David Fincher.
36Telma un Luīze/Thelma and Louise (1991), rež. Ridlijs Skots/Ridley Scott.
37Svinības/Festen/The Celebration (1998), rež. Tomass Vinterbergs/Thomas Winterberg.