PředmětyPředměty(verze: 806)
Předmět, akademický rok 2017/2018
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Moderní filmový obraz - AAALE005A
Anglický název: Circulating within the Modern Cinematic Image
Zajišťuje: Ústav anglofonních literatur a kultur (21-UALK)
Fakulta: Filozofická fakulta
Platnost: od 2013
Semestr: zimní
Body: 0
E-Kredity: 5
Způsob provedení zkoušky: zimní s.:
Rozsah, examinace: zimní s.:0/3 Z [hodiny/týden]
Počet míst: neurčen / 15 (neurčen)
Minimální obsazenost: neomezen
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Úroveň:  
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
Garant: Erik Sherman Roraback, D.Phil.
Vyučující: Erik Sherman Roraback, D.Phil.
Třída: Exchange - 03.4 Photography, Cinematography
Exchange - 09.2 General and Comparative Literature
Je korekvizitou pro: AAALE005B
Rozvrh   Nástěnka   
Anotace - angličtina
Poslední úprava: Mgr. Helena Znojemská, Ph.D. (23.06.2013)

OBJECTIVES
This seminar is a select examination of films from D.W. Griffith, Buster Keaton, Fritz Lang, Carl Theodor Dreyer, Dziga Vertov,
Sergei Eisenstein, and Orson Welles (i.e., pre-1945 Euro-American cinema) with special focus given to those cinematic
moments that teach and train us in new non-dominatory viewing strategies, in new creative ways of circulating, and in new
nonsadistic ways of engaging with the most essential element of the cinema: the aesthetic unit of the image. Film criticism
and film philosophy from Leo Bersani-Ulysse Dutoit, David A. Cook, Gilles Deleuze, Siegfried Kracauer, Erik Roraback, and
Steven Shaviro will be our textual objects of focus. All films are either in English or have English inter-titles or sub-titles. Clips
and special features from the DVDs will also be shown, including from Jean-Luc Godard´s Histoire(s) du cinéma, 4 dvd set
(2007). The course is conducted in English and consists of three clock hour long sessions (i.e., four academic hours) to
allow sufficient time for both the screenings and for seminar lecture/discussion.

MATERIAL
DVD and VHS tapes: see schedule that will be handed out in class

ASSESSMENT
To receive credit for the seminar students must: have no more than three absences, give one oral presentation on a film and
on the required text(s) for that week, submit a mid-term essay and a final essay.
Final essay (3000-4000 words): 40%, Mid-term essay (2000 words): 20%, Oral presentation: 20%, Attendance and
participation: 20%.
Literatura
Poslední úprava: Mgr. Helena Znojemská, Ph.D. (23.06.2013)

Extracts from the following critical and theoretical texts will be available in a course-reader, or adduced by the instructor in the class:

Barber, Stephen: The Screaming Body (Creation, 1999).

Bersani, Leo and Ulysse Dutoit: Arts of Impoverishment: Beckett, Rothko, Resnais (Harvard, 1993).

Conrad, Peter: The Stories of His Life: Orson Welles (Faber & Faber, 2003).

Cook, David A.: A History of Narrative Film (Norton, 1996).

Deleuze, Gilles: Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minnesota, 1986).

____________. Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minnesota 1989).

Kracauer, Siegfried: From Caligari to Hitler: A Psychological History of the German Film (Princeton, 1947).

Lambert, Gregg: "Cinema and the Outside" and "The Brain is the Screen: An Interview with Gilles Deleuze" in Flaxman, Gregory, ed., The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minnesota, 2000).

Roraback, Erik S.: a select band of essays on D.W. Griffith, on Buster Keaton, on Fritz Lang, on Carl Theodor Dreyer, on Dziga Vertov, on Sergei Eisenstein and on Orson Welles from a work in progress: Cinema as an Autopoietic System.

Shaviro, Steven: The Cinematic Body, Theory Out of Bounds, Volume 2 (Minnesota, 1993).

Truffaut, François: "Foreword" to André Bazin's Orson Welles: A Critical View (Acrobat, 1978), pp. 1-27.

Metody výuky
Poslední úprava: Mgr. Helena Znojemská, Ph.D. (23.06.2013)

seminář

Sylabus
Poslední úprava: Mgr. Helena Znojemská, Ph.D. (23.06.2013)

1

Introduction

2

Jean-Luc Godard and Cinematic Histories

Screening : Jean-Luc Godard, Histoire(s) du cinéma (2007). Post-film talk.

3

Buster Keaton and the Aesthetic of Dizziness

Pre-film talk and screening: Clips from Our Hospitality (1923, 75 min., dir. Buster Keaton and co-dir. John Blystone).

Sherlock, Jr. (1924, silent with English intertitles, 44 min. dir. Buster Keaton).

The General (1926, silent with English intertitles, 75 min., dir. Buster Keaton and Clyde Bruckman).

Rdgs: L. Bersani and U. Dutoit: Arts of Impoverishment pp. 1-9.

E. Roraback: "Layering Dizziness in the Autopoietic Cinema of Buster Keaton"; revised version of a paper given at the 31st annual conference of the International Association for Philosophy and Literature Nicosia, Cyprus, Europe, 4-9 June 2007; conference theme: Layering: Textual, Visual, Spatial, Temporal.

S. Shaviro: The Cinematic Body, pp. 255-69.

4

German Expressionism, the Political & the Heroizing Epic I

Pre-film talk and screening:

The Ring: Siegfried (Die Nibelungen: Siegfried, 1924, 143 min., German intertitles with English subtitles, dir. Fritz Lang).

5

German Expressionism, the Political & the Heroizing Epic II

Pre-film talk and screening:

The Ring: Kriemhild's Revenge (Die Nibelungen: Kriemhild's

Revenge, 1924, 148 min., German intertitles with English subtitles, dir. Fritz Lang).

6

Post-film lecture/discussion on Die Nibelungen (The Ring)

Rdgs: D. Cook: A History, pp. 113-15.

S. Kracauer: The German Film, pp. 91-97.

E. Roraback: "The Mediatization of German Expressionism & the Politics of Filmic Adaptation: Lang's Die Nibelungen (The Ring, 1924)". Revised version of a lecture given at the 30th Annual conference of the International Association of Philosophy and Literature, Freiburg, Germany, 4-9 June 2006. German Expressionism and the Socio-Economic

Pre-film talk and screening: The Last Laugh (Der letzte Mann, 1924, silent with English intertitles, 91 minutes, dir. F.W. Murnau).

Post-film lecture/discussion on The Last Laugh

Readings: L. Bersani and U. Dutoit: Arts of Impoverishment pp. 1-9.

D. Cook: A History of Narrative Film, pp. 115-23.

S. Kracauer: From Caligari to Hitler: A Psychological History of German Film, pp. 99-106.

E. Roraback: "The Social and the Negative: Murnau's Der letzte Mann (The Last Laugh, 1924) and Walter Benjamin's 'Angelus Novus'"; revised version of a talk given at a conference in Prague, October, 2007.

S. Shaviro: The Cinematic Body, pp. 255-69.

7

Silent Film and the Close-Up

Pre-film lecture and screening: The Passion of Joan of Arc (La Passion de Jeanne d'Arc,

1928, 82 min., French intertitles with English subtitles, dir. Carl Th. Dreyer).

Post-film lecture/discussion on The Passion of Joan of Arc

Rdgs: S. Barber: The Screaming Body, pp. 5-32.

D. Cook: A History, pp. 372-73.

E. Roraback: "Autopoietic World-Forming Cinema and Spiritual Life: Dreyer's Early-Style La Passion de Jeanne d'Arc (The Passion of Joan of Arc, 1928)". Revised version of a lecture given at The Evergreen State College (USA, 1/2007).

8

Silent Soviet Film, Dialectical Montage and the Camera-Eye

Pre-film lecture, screening and post-film lecture/discussion: Man with a Movie Camera (1929, 68 min., Russian intertitles with English subtitles, dir. Dziga Vertov).

Rdgs: D. Cook: A History, pp. 133-35.

G. Deleuze: pp. 39-43 in Cinema 1: The Movement-Image.

E. Roraback, "The Whirligig of Autopoietic Cinema: Vertov's Man with a Movie Camera, 1929".

9

Orson Welles, American Film & the Advent of the Time-Image

Pre-film lecture and screening: Citizen Kane (1941, 119 min., dir. Orson Welles).

10

Post-film lecture/discussion

Rdgs: D. Cook: A History, pp. 391-420.

G. Deleuze: Cinema 2, pp. 98-155.

E. Roraback: "Cosmic Autopoietic Self-Reference, Participation & Actuality: Citizen Kane (1941)". Revised version of a lecture given at the University of Szeged (Hungary, 2003).

11

The Lost Nirvana and Orson Welles's Lost Magnum Opus

Pre-film lecture and screening: The Magnificent Ambersons (1942, 82 min.).

12

Post-film lecture and discussion of The Magnificent Ambersons

Rdgs: D. Cook: A History, pp. 391-420.

G. Deleuze: Cinema 2, pp. 98-155.

E. Roraback: "Autopoietic & Multisensorial Evocations & Provocations of Lost Paradise: Welles's The Magnificent Ambersons (1942)". Revised version of a lecture given at the University of Constance (Germany, 2006).

F. Truffaut: "Foreword" to André Bazin's Orson Welles: A Critical View, pp.1-27.

 
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