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From 24.11.: ZOOM link (for those who won´t be able to attend in-class):
https://cuni-cz.zoom.us/j/92795836281 Cinema represented and influenced the 20th century in many profound ways. The modes of perception, experience and relation to time and space have been largely altered by it. Of all the art forms, film is the most prominent when it comes to the last century. It saw the light of day at the same time when major changes were occuring in society, technology and human experience in general. Generally speaking, based on the thoughts of Walter Benjamin, cinema represents a new way of experiencing the world, distinct from the way people were experiencing it for centuries. The new film-like experience of 20th century's human beings is formed, first of all, by schocks. Schock-experiences have become basic elements of modern human life. And it is the very art form of film - by its internal structure, by the way movies are created and put together, i.e. by their form and not necessarily content - that confronts the viewer with a series of schocks. As such, it corresponds to the way modern human beings experience the world, especially in large cities. New technology induces shocks on humans, forces their mode of perception and experience to change, and thus requires also a new mode of (philosophical) reflection. Perhaps it is just now, from the 21st century's perspective, that the full meaning, sphere of influence and transormative power of film can be elucidated. To complete this task, we will look into the texts of some of the most innovative and inspiring thinkers that directed their attention towards cinema: Walter Benjamin, Siegfried Kracauer, Gilles Deleuze, Miroslav Petříček, Karel Thein and others. Poslední úprava: Kettner Marek, Mgr., Ph.D. (22.11.2021)
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Selected publications (not exhausting all the texts we will work with):
Walter Benjamin, The Work of Art in the Age of its Reproducibility, in: Selected Writings vol.3 (Cambridge: Belknap Press of Harvard University press 2002). Walter Benjamin, On Some Motifs in Baudelaire, in: Selected Writings vol. 4 (Cambridge: Belknap Press of Harvard University press 2006).
Gilles Deleuze, Cinema 1: The Movement Image, (London & New York: The Athlone Press 2002). Gilles Deleuze, Cinema 2: The Time Image, (London & New York: The Athlone Press 2005).
Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality, (Princeton, New Jersey : Princeton University Press 1997). Siegfried Kracauer, The Mass Ornament: Weimar Essays, (Harvard University Press 2005).
Miroslav Petříček, Myšlení obrazem, (Praha: Hermann & synové 2009).
Karel Thein, Rychlost a slzy: Filmové eseje, (Praha: Prostor 2002).
Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive, (Harvard University Press 2002).
Poslední úprava: Kettner Marek, Mgr., Ph.D. (16.09.2021)
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The evaluation will be given based upon two criteria:
1) Active participation in the seminar
2) Final oral exam or written essay, concentrating on chosen topics discussed in advance with the teacher Poslední úprava: Kettner Marek, Mgr., Ph.D. (13.09.2021)
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