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Film Language, Stylistics and Photography
Study Course Description
Course Description Statuss:Approved
Course Description Version:3.00
Study Course Accepted:30.08.2021 10:06:25
| Study Course Information | |||||||||
| Course Code: | KSK_289 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| Branch of Science: | Communication Sciences; Communication Theory | Target Audience: | Information and Communication Science; Communication Science | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Dita Rietuma | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Faculty of Communication | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Riga, 16 Dzirciema Street, kfko rsu[pnkts]lv, +371 67409183 | ||||||||
| 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: | None. | ||||||||
| Objective: | In the 19th century films were born as “animated photography” – a static image got the uniqueness of motion and the ability to “capture” the flow of time. Since the origins of film development film trends and stylistic searches have affected the visual culture of the 20th and the 21st century, and photography is also its component. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introductory lecture | Lectures | 1.00 | auditorium | |||||
| 2 | Film and reality. Ontology of a photographic image. Elements of film language. Editing. Use of plans. Use of close-ups (Jeanne d’Arc by Theodor Dreyer, works of Sergei Eisenstein, etc.) | Lectures | 2.00 | auditorium | |||||
| 3 | Set-up – use of deep set-up (works by Orson Welles – Citizen Kane, The Magnificent Ambersons, etc.). Drama of the set-up (Alfred Hitchcock, Michelangelo Antonioni and other works). Conventions of the classical (Hollywood) film stylistics | Lectures | 1.00 | auditorium | |||||
| 4 | Genres and visual stylistics (musical film, melodrama, gangster film, western). Stylistics of film noir as an alternative to the classical Hollywood style conventions. Visual stylistics, lighting peculiarities of film noir. Post-modern reflection in the visual culture at the turn of the 20th and 21st century. Modernism trends (in the 20s of the 20th century), their visual and stylistic conventions – expressionism, impressionism, surrealism and their echoes in the modern visual culture | Lectures | 1.00 | auditorium | |||||
| 5 | Experimental culture – work of Maya Deren and Stan Brakhage. Quest of documentary films, their stylistics and impact on photography – modernism in Man with a Movie Camera by Dziga Vertov, totalitarian aesthetisation in Olympia by Leni Riefenstahl, etc. Watching and analysis of films | Classes | 2.00 | auditorium | |||||
| 6 | Italian neorealism, French New Wave, Danish Dogma realism trends genealogy in the 20th century. Stylisation – French New Wave and European art film experience (Alain Resnais, Jean-Luc Godard, Federico Fellini, Pedro Almodavar, etc.). Watching and analysis of films | Classes | 2.00 | auditorium | |||||
| 7 | Notion of look, narrative interaction between film art and photography (Blow-up by Michelangelo Antonioni, Rear Window by Alfred Hitchcock, Peeping Tom by Michael Powell) | Lectures | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introductory lecture | Lectures | 1.00 | auditorium | |||||
| 2 | Film and reality. Ontology of a photographic image. Elements of film language. Editing. Use of plans. Use of close-ups (Jeanne d’Arc by Theodor Dreyer, works of Sergei Eisenstein, etc.) | Lectures | 1.00 | auditorium | |||||
| 3 | Set-up – use of deep set-up (works by Orson Welles – Citizen Kane, The Magnificent Ambersons, etc.). Drama of the set-up (Alfred Hitchcock, Michelangelo Antonioni and other works). Conventions of the classical (Hollywood) film stylistics | Lectures | 1.00 | auditorium | |||||
| 4 | Genres and visual stylistics (musical film, melodrama, gangster film, western). Stylistics of film noir as an alternative to the classical Hollywood style conventions. Visual stylistics, lighting peculiarities of film noir. Post-modern reflection in the visual culture at the turn of the 20th and 21st century. Modernism trends (in the 20s of the 20th century), their visual and stylistic conventions – expressionism, impressionism, surrealism and their echoes in the modern visual culture | Lectures | 1.00 | auditorium | |||||
| 5 | Experimental culture – work of Maya Deren and Stan Brakhage. Quest of documentary films, their stylistics and impact on photography – modernism in Man with a Movie Camera by Dziga Vertov, totalitarian aesthetisation in Olympia by Leni Riefenstahl, etc. Watching and analysis of films | Classes | 2.00 | auditorium | |||||
| 6 | Italian neorealism, French New Wave, Danish Dogma realism trends genealogy in the 20th century. Stylisation – French New Wave and European art film experience (Alain Resnais, Jean-Luc Godard, Federico Fellini, Pedro Almodavar, etc.). Watching and analysis of films | Classes | 1.00 | auditorium | |||||
| 7 | Notion of look, narrative interaction between film art and photography (Blow-up by Michelangelo Antonioni, Rear Window by Alfred Hitchcock, Peeping Tom by Michael Powell) | Lectures | 1.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | To approbate the knowledge obtained at lectures and seminars when creating different photo works, to create in student groups the work on the given topic within the scope of set stylistics. | ||||||||
| Assessment Criteria: | • Participation in lectures. • Participation and activity in seminars. • Creative project – photo work reflecting certain stylistics. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | After mastering the course students: • Will recognise, know, compare different film stylistics and analogues in photography. • Will recognise authors in film and photography, whose work reflects the most essential stylistic directions. • Will know, justify technical means used to obtain certain image characteristics. | ||||||||
| Skills: | After mastering the course students: • Will use certain stylistics for the creation of own photographic work. • Will define and use technical means to create certain stylistics. • Will make the selected stylistics suitable for the requirements of certain formats. | ||||||||
| Competencies: | After mastering the course students: • Will evaluate audiovisual works – film and photo works. • Will find one’s way around film culture heritage and its reflections in photography. • Will use a diverse stylistic palette in creating own work. • Will be able to show responsible and knowledge-based activity in creating own creative work. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Robert Sklar. World History of Film. New York, Harry Abrahams Incorporated, 2002 | ||||||||
| 2 | Rudolf Arnheim. From Film as Art. Film and Reality. The Making of A Film. Film Theory and Criticism, Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 3 | Stanley Cavell. From the World Viewed. Photograph and Screen. Film Theory and Criticism, Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 4 | 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 | ||||||||
| 5 | 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. | ||||||||
| 6 | Andre Bazin. From What is Cinema? The Evalution of the Language of Cinema. Film Theory and Criticism, Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 7 | Andre Bazin. From What is Cinema? The Ontology of the Photographic Image. Film Theory and Criticism. Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 8 | Stan Brakhage. From Metaphors of Vision. Film Theory and Criticism. Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 9 | Maya Deren. Cinematography. The Creative Use of Reality. Film Theory and Criticism. Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 10 | Bela Balasz. From Theory of the Film. The Close-up. The Face of Man. Film Theory and Criticism. Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 11 | Ervin Panofsky. Style and Medium in the Motion Pictures. Film Theory and Criticism. Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 12 | Ervin Panofsky. Style and Medium in the Motion Pictures. Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 13 | Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. In Film Theory and Criticism. Introductory Readings (Fifth Edition). Edited by Leo Braudy, Marshall Cohen. New York, Oxford. Oxford University Press, 1999 | ||||||||
| 14 | Todd, Anthony. Autorship and the films of David Lynch. Aesthetic receptions in contemporary Hollywood, New York: I.B. Taurus Publishers, 2012 | ||||||||
| 15 | Collins, Luke. 100% Pure Adrenalin. Gender and Generic Surface in Point Break. Gender Meets Genre in Postwar Cinemas. Edited by Christine Gledhill. Urbana, Chicago, Springfield. University of Illinois Press, 2012 | ||||||||
| Additional Reading | |||||||||
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| Other Information Sources | |||||||||
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