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This seminar examines 'critical' aspects of the cinematic medium and its 'culture.'
For updates: https://www.facebook.com/FilmAndCriticalCulture/ Poslední úprava: Znojemská Helena, Mgr., Ph.D. (20.09.2021)
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"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: Armand Louis, Ph.D. (21.09.2020)
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FILM & CRITICAL CULTURE I / ALL THAT'S SOLID MELTS INTO WEIRD 7.10 / Intro 14.10 / Zeroville (dir. James Franco, 2019) 21.10 / Kafka (dir. Steven Soderbergh, 1991) 28.10 NO SEMINAR 4.11 / Undergods (dir. Chino Moya, 2020) 11.11 / Le Dernier Combat (dir. Luc Besson, 1983) 18.11 / Eraserhead (dir. David Lynch, 1993) *no class, but review as per usual 25.11 / The American Astronaut (dir. Cory McAbee, 2001) 2.12 / Brand Upon the Brain (dir. Guy Maddin, 2006) 9.12 / Crimes of the Future (dir. David Cronenberg, 1970) 16.12 / Infinitum: Subject Unknown (dir. Matthew Butler-Hart, 2021) 23.12 / Evolution (dir. Lucile Hadžihalilović 2015) 4.1 / Nothing Personal (dir. Urszula Antoniak, 2009) *no class, but review as per usual Optional: Variety (dir. Bette Gordon, 1983) Freak Orlando (dir. Ulrike Ottinger, 1981)
Poslední úprava: Armand Louis, Ph.D. (18.10.2021)
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see above Poslední úprava: Armand Louis, Ph.D. (14.09.2020)
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see above Poslední úprava: Armand Louis, Ph.D. (14.09.2020)
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