Syllabus
Syllabus JJB148 - Fall 2018 1. Lecture: Autenthicity - the main value (October 16th 2018)
LIT:
ROTHMAN, William: Eternal Verités. In: WARREN, Charles (eds.): Beyond Document. Essays on nonfiction Film. Wesleyan University Press, Hanover and London 1996, p. 79-99
BENNETT, Carl: Film Authenticity. Evaluation. In: http://authenticcinema.blogspot.cz/
ROBINSON, Andrew: Walter Benjamin: Art, Aura and Authenticity. In: Ceasefire. http://ceasefiremagazine.co.uk/walter-benjamin-art-aura-authenticity/ 2. Lecture: Components of Audiovisual Language (October 23rd 2018)
LIT:
Components of Film Study and Analysis. In: http://www.westga.edu/~bjames/ComponentsofFilm.htm
Elements of Film Making. In: http://www.filmclass.net/ElementsFilm.htm 3. Lecture: Between two Poles: Reality and Piece of Work (October 30st 2018)
LIT:
RUSHTON, Richard: The Reality of Film: Theories of Filmic Reality. Manchaster University Press, 2013.
Realism and "Reality" in Film and Media. Museum Tusculanum Press, University of Copenhagen. 2002 4. Lecture: Between Two Poles: Objectivity and Author´s Subject (November 6st 2018)
LIT:
FELDMAN, Seth: Peace between Man and Machine. In: GRANT, Barry Keith-SLONIOWSKI, Jeannette: Documenting the Documentary. Close Readings of Documentary Film and Video. Wayne State University Press, Detroit 1998, p. 40-54
RUBY, Jay: The Image Mirrored: Reflexivity and the Documentary Film. In: ROSENTAHL, Alan: New Challenges for Documentary. University of California Press, Berkeley. 1988, p. 64-75
SCHINDEL, Daniel: Objectivity in Documentary Film. Moviemezzanine.com In: http://moviemezzanine.com/objectivity-in-documentary-film/
BALDWIN, Belinda: The Death of Objectivity? When Documentary Footage Becomes Evidence. Documentary.org In: http://www.documentary.org/magazine/death-objectivity-when-documentary-footage-becomes-evidence
MORRIS, Peter H.: Objectivity in Documentary. In: http://peterhmorris.com/hello-world-2/ 5. Lecture: Observational Mode (November 13st 2018)
LIT:
BRUZZI, Stella: The legacy of direct cinema. In: New Documentary: A critical Introduction. Routledge, London 2000, p. 67-74
BENSON W. Tomas-ANDERSON, Carolyn: The Politics of the Double Bind. High school. In: Reality Fictions. The Film of Frederic Wiseman. Southern Illinois University Press, Carbondale and Edwardsville, 2002 p. 197-146
BENSON W. Tomas-ANDERSON, Carolyn: Reality Fictions and the Rhetoric of Documentary. In: Reality Fictions. The Film of Frederic Wiseman. Southern Illinois University Press, Carbondale and Edwardsville, 2002, p. 197-146
Modes of Documentary - Bill Nichols. In: http://www.godnose.co.uk/downloads/alevel/documentary/Doc%20Modes%20nichols.pdf
NICHOLS, Bill: What Type sof Documentary Are There? In: NICHOLS, BILL: Introduction to Documentary. Indiana University Press, Bloomington 2001, p. 99-137 In: http://www.ccm.gov.mo/prog10/mifvf/bill_nichols_6_modes_documentary.pdf 6. Lecture: Forms of Representation and Birth of Stereotype (November 20th 2018)
LIT:
BARSAM, Richard: Nanook of the North, In: BARSAM, R.: The vision of Robert Flaherty. The Artist as Myth and Filmmaker. Indiana University Press, Bloomington and Indianapolis, 1988, p. 12-27
BEATTIE, Keith: Believe Me, I´am of the World: Documentary Representation. In: BEATTIE, KEITH: Documentary Screens. Nonfiction Film and Television. Palgrave MacMillan, New York, 2004, p. 10-26
Representation. In: BLANDFORD, Steve-GRANT, Barry Keith-HILLIER, Jim: The Film Studies Dictionary. Arnold, London, 2001. 7. Lecture: Role of Stylization (November 27st 2018)
LIT:
LIPKIN, Steve: Defining Docudrama: In the name of the Father, Schindler´s List, and JFK. In: ROSENTAHL, Alan (eds.): Why Docudrama? Fact-Fiction on Film and TV. Southern Illinois University Press. 1999,
Sliding Scale of Realism vs. Stylization. In: http://tvtropes.org/pmwiki/discussion.php?id=9u8wbb72a7cphq78tzj9pjaj 8. Lecture: Poetic Mode (December 4st 2018)
Poetry-Film & The Film Poem: Some Clarifications. In: http://www.studycollection.co.uk/poetry.html
Movie review: Powaqqatsi: Life in Transformation. In: tetsuobroker2099. In: http://tetsuobroker2099.blogspot.cz/2012/04/movie-review-powaqqatsi-life-in.html 9. Lecture: Creative Treatment of Actuality (December 11th 2018)
LIT:
GRIERSON, John: First Principles of Documentary (1934). In: BARSAM, Richard Meran: Nonfiction Film. Theory and Criticism. A Dutton Paperback. New York, 1976.
LOVEL, Alan-HILLIER, Jim: The Documentary Film Movement: John Grierson. In: Studies in Documnetary. The Viking Press, New York, 1972, p. 9-35
BERNSTEIN, Matthew: Documentaphobia and Mixes Modes. In: GRANT, Barry Keith-SLONIOWSKI, Jeannette: Documenting the Documentary. Close Readings of Documentary Film and Video. Wayne State University Press, Detroit 1998, p. 397-415
MOHAMED, Sufi: Documentary Film Theory and John Grierson. In: Indiejudge. In: http://www.indiejudge.com/film-theory/documentary-film-theory-john-grierson/ 10. Lecture: Imaging of a Man/Human (December 18st 2018)
LIT:
KUEHL, Jerry: Lies about Real People. In: ROSENTAHL, Alan (eds.): Why Docudrama? Fact-Fiction on Film and TV. Southern Illinois University Press. 1999, p. 119-124
BRUZZI, Stella: The president and the image: Kennedy, Nixon, Clinton. In: New Documentary: A critical Introduction. Routledge, London 2000, p. 127-152
Alternatives: 11. Lecture: Imaging of a Place/Genius Loci
LIT:
GALT, Rosalind: Pretty: Film and the Decorative Image. Columbia University Press, New York, 2011
HALLAM, Julia: Mapping the "City" Film 1930-1980. In: HALLAM, Julia-ROBERTS, Les: Locating the Moving Image. New Approaches to Film and Place. Indiana University Press. Bloomington-Indianapolis, 2014 12. Lecture: Imaging of a Time/Epoch
LIT:
HALL, Jeannie: Don´t You Ever Just Watch? In: GRANT, Barry Keith-SLONIOWSKI, Jeannette: Documenting the Documentary. Close Readings of Documentary Film and Video. Wayne State University Press, Detroit 1998, p. 40-54
HAGITH, Toby-NEWMAN, Joann: The Holocaust and the Moving Image - Representations in Film and Television Since 1933. Wallflower Press, 2005.
Annotation
Course aimed at methods of interpretation of reality by tools of audiovisuality. 12 lectures provide theoretic approaches of (particularly) non-fiction film to relationship between "objective" reality and "author´s subjectivity". Thesis are demonstrated by excerpts of classic and contemporary documentary films.
A lecturer apply also his filmmaker´s point of view at a process of creativity.