|
Lecturer(s)
|
-
Kořínek David, prof. doc. Mgr.
|
|
Course content
|
1. Film in the world of art (A. Danto, G. Dickie) - film as an artefact becomes the subject of analysis only when it is accepted by the world of art. 2. The difference between a lay and professional approach to film - the difference between taste and aesthetic criteria in assessing quality. 3. The experience of "punctum" (R. Barthes) as a key to the viewing experience with the film Lessons of Darkness (1992, dir. Werner Herzog). 4. The concept of "Experience" (J. Dewey) on the example of the film Turtle Dreams (1987, dir. Meredith Monk, Robert Withers). 5. Somaesthetics (R. Shusterman) and physical experience on the examples of video clips. 6. Transformative experience (K. J. Pugh) on the example of the performance Art must be beautiful, Artist must be beautiful (1975, Marina Abramovic). 7. Transformative experience (K. J. Pugh) on the example of the documentary film Hrana - 4 films about Marek Brezovsky (2014, dir. Patrik Lančarič). 8. Comparison of the concepts of specialization, puncta and transformative experience in the film wave vs. shore (2014, dir. Martin Štrba). 9. Integration of various theoretical concepts into the emerging professional authorial identity on the example of the film McQueen (2018, dir. Ian Bonhôte, Peter Ettedgui). 10. Integration of various theoretical concepts into the emerging professional authorial identity on the example of the book Karel Dvořák: Miloslav Stibor. 11. Anesthetics (W. Welsch) as a frontier experience with art on the example of the film American Beauty (1999, dir. Sam Mendes).
|
|
Learning activities and teaching methods
|
|
unspecified, unspecified
|
|
Learning outcomes
|
The seminar follows the course "Film Aesthetics I" and assumes that students are familiar with the basics of formal analysis of the film medium. This follow-up course aims to expand the perception of film through aesthetic concepts, which focus not only on the formal properties of the artefact but also on the viewing experience. The viewing experience is conceptualized through theories following the pragmatist aesthetics, which allow students to understand their own experiences with various works of art, which is important for the development of their own authorial identity.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the given field of study, they result from a concrete annotation of the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
|
|
Prerequisites
|
Successful completion of the previous study
|
|
Assessment methods and criteria
|
unspecified
Attendance
|
|
Recommended literature
|
-
Barthes, R. Světlá komora. Agite Press, 2005.
-
Bordwell, David; Thompsonová, Kristin. Umění filmu, Úvod do studia formy a stylu. AMU Praha, 2011.
-
DVOŘÁK, Karel. Miloslav Stibor. Profil, Ostrava, 1984.
-
Kulka, T., Ciporanov, D., (eds.). Co je umění, Texty angloamerické estetiky 20. století. Pavel Mervart, 2011.
-
SHUSTERMAN, Richard. Estetika pragmatizmu: Krása a umenie života. Kalligram, Bratislava, 2003.
-
URBAN, Marek. Identita autora. VEDA, Bratislava, 2017.
-
Welsch, Wolfgang. Estetické myslenie. Archa Bratislava, 1993.
|