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Předmět, akademický rok 2017/2018
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Film and Critical Culture I - AAALE003A
Anglický název: Film and Critical Culture I
Zajišťuje: Ústav anglofonních literatur a kultur (21-UALK)
Fakulta: Filozofická fakulta
Platnost: od 2015
Semestr: zimní
Body: 0
E-Kredity: 5
Způsob provedení zkoušky: zimní s.:
Rozsah, examinace: zimní s.:0/2 Z [hodiny/týden]
Počet míst: neurčen / 30 (neurčen)
Minimální obsazenost: neomezen
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
Garant: Louis Armand, Ph.D.
Vyučující: Louis Armand, Ph.D.
Třída: Exchange - 03.4 Photography, Cinematography
Exchange - 09.2 General and Comparative Literature
Je korekvizitou pro: AAALE003B
Rozvrh   Nástěnka   
Poslední úprava: Louis Armand, Ph.D. (15.09.2017)

This seminar examines 'critical' aspects of the cinematic medium and its 'culture.' The winter 2017 semester will focus upon the works of Jean-Luc Godard.

For updates: https://www.facebook.com/FilmAndCriticalCulture/

Cíl předmětu
Poslední úprava: Louis Armand, Ph.D. (15.09.2017)

This is an enquiry about the future of the cinema. It appears… that a television aesthetic has replaced a cinematic aesthetic for large parts of the audience all over the world.

Well, you have to know who invented television & what the context was. Its arrival coincided with the talkies, at a time when governments were half-consciously thinking of harnessing the incredible power that was released by the silent film, which, unlike painting, achieved instant popularity.

Rembrandt’s paintings & Mozart’s music were supported by kings & princes. But it was a mass public that very quickly came to support the cinema. The silent movie was something to behold: first you look, then you speak. The sound film might have been invented right away, but that didn’t happen. Instead, it took thirty years.

The age of reason. Whoever has power has right on his side, you might say. First came the technical birth of television. When the film people weren’t interested in it, it had to be rescued by the post office, people working in communications. So today, television is like a little post office. It’s nothing to be afraid of, it’s so small & you have to be very close to the picture. In the cinema, on the other hand, the picture is large & intimidating, & you watch it from some way away. Today, it seems people would rather look at a small picture close up than a large one from a distance.

Television emerged very quickly because it was born in the USA. It was born at the very same time as the advertising that financed it. So it was the highly articulate advertising world, saying things in a single phrase or image, like Eisenstein, as good as Eisenstein, as good as Potemkin. So they made ads like Potemkin, only Potemkin is ninety minutes long.

Is cinema dying out as a language, will it soon be a defunct art form?

It really doesn’t matter. It’s bound to happen some time. I shall die, but will my art die? I remember telling Henri Langlois that he should throw away his collection of films & go off somewhere, otherwise he would die. So one should just go off somewhere. It’s much the better way.

Films are created when there’s no one looking. They are the Invisible. What you can’t see is the Incredible - & it’s the task of the cinema to show you that.

– Jean-Luc Godard, Chambre 666 (dir. Wim Wenders, 1982)

Poslední úprava: Louis Armand, Ph.D. (02.10.2017)

SCREENINGS (room 131/Aula; Wednesdays 17:30)


4.10 Four Short Films (with Anne-Marie Miéville): De l'origine du XXIe siècle, The Old Place, Liberté et Patrie, Je vous salue, Sarajevo (1993 – 2002)


11.10 Le Petit Soldat (1960)


18.10 Alphaville (1965)


25.10 La Chinoise (1967)


1.11 Weekend (1967)


8.11 One-Plus-One (Sympathy for the Devil) (1968)


15.11 Passion (1982)


22.11 Détective (1985)


29.11 King Lear (1987)


6.12 For Ever Mozart (1996)


13.12 Éloge de l’Amour (In Praise of Love) (2001)


20.12 Notre Musique (2004)


3.1 Film Socialisme (2010)


10.1 Adieu au Langage (Goodbye to Language) (2014)

Podmínky zakončení předmětu
Poslední úprava: Louis Armand, Ph.D. (15.09.2017)

Assessment for single credit (Z) will be based upon a 3000 word research paper conforming to MLA style (due 31 January; essay guidelines can be found on the departmental website); attendance (max. absences: 2); participation in in-class discussion; and a typed 700-1000 word review of each of the screened titles (to be submitted on paper the following Wednesday in class). Plagiarism in any form will result in an immediate fail. NB that only MA students are entitled to apply for the additional credit (Zk) in this seminar.
Poslední úprava: Louis Armand, Ph.D. (15.09.2017)

Louis Armand, Videology I & II (Prague: Litteraria, 2015/2016). 

Jean-Luc Godard, Godard on Godard, trans. and ed. Tom Milne (New York: Da Capo, 1972).

Colin MacCabe, Godard: A Portrait of the Artist at 70 (London: Bloomsbury, 2003).

Jean-Luc Godard and Youssef Ishaghpour, Cinema (Oxford: Berg, 2005).

Erich Kuersten, “Hell is a Postcard of Heaven: Godard’s Sympathy for the Devil (One Plus One),” Acidemic (http://www.acidemic.com/id98.html).

Richard Brody, Everything Is Cinema: The Working Life Of Jean-Luc Godard (London: Faber, 2008).

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