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Lecturer(s)
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Dvořák Martin, Mgr. Ph.D.
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Course content
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The invention of film and the development of cinema in the late 19th and early 20th century: Early filmmaking Films of the Lumiere Brothers; Georges Mélies Classic Hollywood Film 1908-1927: America's dominant world market position David W. Griffith; Douglas Fairbanks; Charlie Chaplin; Buster Keaton French Impressionism 1918-1929: Belief in cinema as an art form, concept of "photogenics" Jean Epstein; Louis Delluc; Jean Renoir; René Clair; Germaine Dulac French Surrealism 1924-1930: Film without limits or rules René Clair; Germaine Dulac; Man Ray; Salvador Dalí; Luis Buňuel; Rrose Sélavy (Marcel Duchamp) German Expressionist Movement 1920-1927: Extreme deformation and distortion The Cabinet of Dr. Caligari (Robert Wiene) Nosferatu (Friedrich Wilhelm Murnau) Metropolis (Fritz Lang) Soviet Montage Theory 1924-1930: Artistic "engineering" and constructivism Battleship Potemkin (Sergei M. Ejsenstein) Man with a Movie Camera (Dziga Vertov) Czech film avant-garde of the 1920s: "Film on paper" - a theory more sophisticated than practice Erotikon (Gustav Machatý) Praha v záři světel (Svatopluk Innemann) Czech film avant-garde of the 1930s: "Pure film art" versus "commercial film art" - clashes with the mainstream Světlo proniká tmou; Žijeme v Praze (Otakar Vávra) Bezúčelná procházka; Na Pražském hradě (Alexander Hackenschmied) Příběh vojáka; Atom věčnosti; Máj (Čeněk Zahradníček) The theorist and practitioner Vladislav Vančura: "A talking film is not a narrated film" Před maturitou; Na sluneční straně; Marijka nevěrnice; Naši furianti; Láska a lidé (Vladislav Vančura) The theorist and "practitioner" Vítězslav Nezval: "that was the time when we, the young poets and modernists, got mesmerised by the film" Varhaník u sv. Víta (Martin Frič); Ze soboty na neděli (Gustav Machatý); Za tichých nocí (Zdeněk Hašler) The "theorists" and "practitioners" Voskovec and Werich: "We liked cinema much earlier than theatre" Pudr a benzin; Peníze nebo život (Jindřich Honzl); Hej-rup!; Svět patří nám (Martin Frič)
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Learning activities and teaching methods
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Monologic (reading, lecture, briefing), Dialogic (discussion, interview, brainstorming)
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Learning outcomes
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The course provides basic overview of the history of cinema from its origins until the late 1930s and 1940s. It focuses, among other things, on avant-garde trends in world film (French Impressionism, Surrealism, German Expressionism, Soviet Montage Theory, experimental or amateur film-making) and in Czech film. Especially in terms of Czech avant-garde, particular consideration will be given to the relations between modernist literature and film (as a new artistic discipline) which can be found out in the thinking of art theorists (Karel Teige, Jan Kučera, Jan Mukařovský) or writers (Karel Čapek and Josef Čapek, Jiří Voskovec, Vítězslav Nezval, Vladislav Vančura), some of whom were active filmmakers or members of creative film groups. The structure of the seminar consists of an introduction, a projection of film samples or entire films and discussion. In addition, lessons will include the analysis of specific period theoretical, essayistic and literary texts relevant to the subject.
Students will acquire knowledge of the origins of cinema and its evolution until the period of World War II. They will extend their knowledge especially in the topic of European art avant-garde of the 1920s and 1930s and gain awareness of the role of film art in thinking about avant-garde foundations, principles and goals. Students will get familiar with close relations between literature and cinema, which in the period illustrate features of one of the important paradigms of modern art.
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Prerequisites
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The course assumes basic overview of film culture and dominant movements in world and Czech art in the first half of the 20th century, basic knowledge in modern literature, ability to argue, work with text and ability to interpret film work in elementary terms.
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Assessment methods and criteria
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Student performance assessment
Attendance, activity within the discussion.
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Recommended literature
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Bartošek, Luboš. Náš film : kapitoly z dějin (1896-1945). 1. vyd. Praha : Mladá fronta, 1985.
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Bordwell, David; Thompson, Kristin. Umění filmu : úvod do studia formy a stylu. 1. vydání. V Praze : Nakladatelství Akademie múzických umění, 2011. ISBN 978-80-7331-217-6.
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Cohen, Keith. Film and Fiction: The Dynamics of Exchange. New Haven: Yale University Press, 1979.
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Hilský, Martin. Modernisté. Druhé, upravené vydání, v Argu první. Praha : Argo, 2017. ISBN 978-80-257-2193-3.
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Král, Petr, ed. Karel Teige a film. Praha: Filmový ústav, 1966.
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Mlčoušek, Vladimír. Vítězslav Nezval a film. Praha: Československý filmový ústav, 1979.
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Monaco, James. Jak číst film. Svět filmu, médií a multimédií. Praha: Albatros, 2006.
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Szczepanik, Petr, ed. ; Anděl, Jaroslav, ed. Stále kinema: antologie českého myšlení o filmu 1904-1950. Praha: Národní filmový archiv, 2008.
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Teige, Karel. Film. Praha: Václav Petr, 1925.
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Thompson, Kristin; Bordwell, David,; Bendová, Helena. Dějiny filmu : přehled světové kinematografie. 2., opr. vyd. Praha : AMU : NLN, 2011. ISBN 978-80-7331-207-7.
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Urbanová, Eva et al. Český hraný film = Czech feature film. Praha: Národní filmový archiv, 1995.
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Vančura, Vladislav. Mezi dramatem a filmem: sborník materiálů z vědecké konference v Opavě v září 1971. Opava: Slezské muzeum-Památník Petra Bezruče, 1973.
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