Syllabus
SCHEDULE (WINTER 2019/2020) 1.10 / Chris Marker, LA JETEE (1962) / Luc Besson LE DERNIER COMBAT (1983)8.10 / Jean-Luc Godard, ALPHAVILLE (1965)15.10 / Chris Petit, RADIO ON (1979)22.10 / Wim Wenders, ALICE IN THE CITIES (1974)29.10 / Michelangelo Antonioni, BLOW-UP (1966)5.11 / Wim Wenders, THE STATE OF THINGS (1982)12.11 / Nicolas Roeg, THE MAN WHO FELL TO EARTH (1976)19.11 / Michelangelo Antonioni, THE PASSENGER (1975)26.11 / Nicolas Roeg, PERFORMANCE (1970)3.12 / Jean-Luc Godard SYMPATHY FOR THE DEVIL (1968)11.12 / Jim Jarmusch, PERMANENT VACATION (1981)17.12 / Derek Jarman, THE GARDEN (1990)
Annotation
CINÉ-TRACTS
Tues 5:30 pm, room 111
CINÉ-TRACTS
Tues 5:30 pm, room 111
This seminar takes its name from 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, examined through a series of critical texts from 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), & others.
*Assessment for single credit (Z) will be based upon a 2,500 word ESSAY conforming to Department style (see ESSAY GUIDELINS at http://ualk.ff.cuni.cz/current-students.html) (due 28 January; delivered in printed form to room 219a. Essays submitted by email will not be graded!); attendance (max. absences accompanied by doctor's certificate: 2); participation in in-class discussion; and a typed 500 word review of each of the screened titles (to be submitted on paper the following Tuesday in class). Plagiarism in any form will result in an immediate fail. NB that only MA students are entitled to apply for the additional credit (Zk) in this seminar, for which the assessment is an additional 2,500 word essay, or a single essay of 5,000 words.
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]).