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Předmět, akademický rok 2017/2018
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Ciné-tracts: Experimental Film - AAALE014A
Anglický název: Ciné-tracts: Experimental Film
Zajišťuje: Ústav anglofonních literatur a kultur (21-UALK)
Fakulta: Filozofická fakulta
Platnost: od 2017
Semestr: zimní
Body: 0
E-Kredity: 5
Způsob provedení zkoušky: zimní s.:
Rozsah, examinace: zimní s.:0/2 Z [hodiny/týden]
Počet míst: neurčen / 20 (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: Louis Armand, Ph.D.
Vyučující: Louis Armand, Ph.D.
Třída: Exchange - 03.4 Photography, Cinematography
Exchange - 09.2 General and Comparative Literature
Rozvrh   Nástěnka   
Anotace - angličtina
Poslední úprava: Louis Armand, Ph.D. (19.10.2017)

CINÉ-TRACTS
Thurs 5:30 pm, room 111<br>

This seminar takes its name from the work of Chris Marker & Jean-Luc Godard’s 1968 “blackboard” film of the same title & is concerned with interrogating the structures & forms of potentiality in what is called CINEMA. The theoretical focus of the seminar is montage [define], examined through a series of critical texts – both film as writing & writing as film: from Sigmund Freud’s Interpretation of Dreams (1901) to Ernest Fenollosa’s “Essay on the Chinese Written Character” (1908); to the Cubist collages of Pablo Picasso (1912) & Dada photomontages of John Heartfield (1916); to André Breton’s Surrealist Manifesto (1924) & Karel Teige’s essay on “The Aesthetics of Film & Cinematography” (1924); to the film theory of Roger Gilbert-Lecomte (1933) & its relation to Walter Benjamin’s 1937 essay “The Work of Art in the Age of Mechanical Reproduction” & his posthumously published notes on the “Dialectical Image” (in The Arcades Project, 1982); to the encounter between Sergei Eisenstein & James Joyce (Ulysses & Finnegans Wake), as recounted in Eisenstein’s Film Form (published posthumously in 1949) & “The Montage of Attractions” (1923); to Bertolt Brecht’s “The Film, the Novel & Epic Theatre” (1920s) & the evolution from montage to “alienation effect” [Verfremdungseffekt] (1930s); to Guy Debord’s “Methods of Détournement” (1956), Jean-Luc Godard’s “Montage, Mon Beau Souci” (1956), Gene Youngblood’s Expanded Cinema (1970), & Godard’s epic Histoire(s) du cinéma (1988-98). For updates & materials: https://www.facebook.com/FilmAndCriticalCulture/<br>

Assessment for single credit (Z) will be based upon a weekly "position paper" (TBC) & group discussion & a 3000 word critical essay focused upon the theory/practice of montage (due 31 January, submitted in hardcopy); attendance (max. absences: 2). NB that only MA students are entitled to apply for the additional credit (Zk) in this seminar.<br>


Literatura
Poslední úprava: Louis Armand, Ph.D. (02.11.2017)

Dziga Vertov, The Kino-Eye Writings (1985)

Sergei Eisenstein, Montage of Attractions: or, "Enough Stupidity in Every Wiseman," The Drama Review: TDR Vol. 18, No. 1, Popular Entertainments (Mar., 1974), pp. 77-85

André Breton, Manifesto of Surrealism (1924)

Thomas Beltzer, Last Year at Marienbad: An Intertextual Meditation

Alain Robbe-Grillet, The Art of Fiction (1986)

Guy Debord, “Methods of Detournement" (1956)

George L. Dillon, Montage/Critique: Another Way of Writing Social HistoryPostmodern Culture 14.2 (2004)

Roswitha Mueller, Montage in BrechtTheatre Journal, Vol. 39, No. 4, Distancing Brecht (Dec., 1987), pp. 473-486

Jean-Luc Godard, Montage, mon beau souci (Cahiers du cinéma, 1965)

Jean-Luc Godard, Towards a Political Cinema (1950)

Louis Armand, Joyce Cineaste / Godard Auteur (2009)

Sergei Eisenstein, Film Form (trans. 1969)

Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry (1920)

Stoffel Debuysere, Notes on Militant Cinema (1967-1977)

Guy Debord, et al, The Situationist International (Text Library) 

Jason E. Smith / McKenzie Wark / Benjamin Noys / Jacques Rancière, et al, Guy Debord's Cinema (2013)

Tom Mc Donough, Guy Debord & the Situationist International (2002)

Trevor Stark, The Medvedkin Group and the Potential of Militant Film (2012)

David E. James, by Jonas Mekas, Robert Kelly, Ed Dorn, et al, STAN BRAKHAGE / FILMMAKER (2005)

Gilles Deleuze, Cinema 1: The Movement-Image (1983)

Gilles Deleuze, Cinema 2: The Time-Image (1985)

 

FILMS

Henry Hills, Money (1985) on Roulette Intermedium

Jean-Luc Godard, Chris Marker, et al, Cinétracts (1968)

 

ADDITIONAL SUGGESTED READING

Louis Armand, VIDEOLOGY I & II (Prague: LPB, 2015/2016).

David Curtis, EXPERIMENTAL CINEMA: A FIFTY YEAR REVOLUTION (New York: Delta, 1971).

Parker Tyler, UNDERGROUND FILM: A CRITICAL HISTORY (New York: Da Capo, 1995).

Amos Vogel, FILM AS SUBVERSIVE ART (New York: DAP, 1975).

P. Adams Sitney, VISIONARY FILM: THE AMERICAN AVANT-GARDE 1943-2000 (Oxford: OUP, 2002).

Vachel Lindsay, THE ART OF THE MOVING PICTURE(New York: Modern Library, 2000 [1915]).

Metody výuky
Poslední úprava: Mgr. Helena Znojemská, Ph.D. (23.01.2016)

seminář

Sylabus
Poslední úprava: Louis Armand, Ph.D. (16.10.2017)

SCHEDULE (SPRING 2017)

 

26.10 Dziga Vertov, MAN WITH A MOVIE CAMERA

 

2.11 Jean Cocteau, TESTAMENT OF ORPHEUS

 

9.11 Luis Bunuel, THAT OBSCURE OBJECT OF DESIRE

 

16.11 Alain Resnais, LAST YEAR AT MARIENBAD

 

23.11 Federico Fellini, 8 1/2 

 

30.11 Bernardo Bertolucci, THE CONFORMIST

 

7.12 Andy Warhol, LONESOME COWBOYS

 

14.12 Dušan Makavejev, SWEET MOVIE

 

21.12 Derek Jarman, THE GARDEN

 
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