FF:IM091 Bad Filming - Course Information

IM091 Bad Filming: peripheral and marginalized tendencies and movements in the audiovisual production

Extent and Intensity

2/0/0. 3 credit(s). Type of Completion: k (colloquium).

Teacher(s)

Mgr. Marika Kupková, Ph.D. (lecturer)

Guaranteed by

doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts

Timetable

Mon 8:20–9:55 N21

Course Enrolment Limitations

The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 150 student(s).
Current registration and enrolment status: enrolled: 0/150, only registered: 0/150, only registered with preference (fields directly associated with the programme): 0/150

fields of study / plans the course is directly associated with

there are 7 fields of study the course is directly associated with, display

Course objectives

BAD FILMING Typology of Classical Film Influence on Videoart
At the end of the course student will be able to: orientate himself in the frequented stylish and technological processes related to film and video art; characterize a basic categories of video art, know the exemplary pieces including its use in the gallery; will be able to define the socio-cultural and institutional framework of audiovisual production in cinematography and visual arts; will be able to evaluate a particular audiovisual work in the context of fine art.

Syllabus

• 1. Basic media relations between film and video art. Intermediality, transmediality, multimediality, mixed-media. 2. Development of the term of intermediality in the context of audiovisual production. 3. Selected categories of video art in relation to fine art disciplines: videoperformance, videoinstalation, videoanimation, etc. 4. Intermedia processes affected by digital technologies: a method of rewriting, remapping, recombination, manageable image, interpolation, networking, immersive relation, etc. 5. Institutional specifics of the cinematography and fine art practice. 6. Perceptional model of the cinema viewer vs. gallery visitor.

Literature

• Cubitt, Sean. Timeshift On Video Culture. New York: Routledge, 1991.
• Cubitt, Sean. Videography, Video Media As Art And Culture. New York: Routledge, 1993
• Pospiszyl, Tomáš, Srovnávací studie. Praha: Agite/Fra, 2004.
• FILIPOVÁ, Marta and Matthew RAMPLEY. Možnosti vizuálních studií : obrazy, texty, interpretace. 1. vyd. Brno: Masarykova univerzita, Filozofická fakulta, Seminář dějin umění, 2007, 254 s. ISBN 9788087029268. info
• SZCZEPANIK, Petr. (ed.) Nová filmová historie. Antologie současného myšlení o dějinách kinematografie a audiovizuální kultury. Praha: Herrmann a synové, 2004, 528 pp. info
• BOURRIAUD, Nicolas. Postprodukce : kultura jako scénář: jak umění nově programuje současný svět. Translated by Petr Turek. Vyd. 1. Praha: Tranzit, 2004, 106 s. ISBN 8090345204. info
• BAXANDALL, Michael. Stíny a světlo : umění a vizuální zkušenost. Translated by Pavel Pšeja. Vyd. 1. Brno: Barrister & Principal, 2003, 207 s. ISBN 8086598586. info
• RUSH, Michael. Video art. London: Thames & Hudson, 2003, 224 s. ISBN 0500237980. info
• BELTING, Hans. Konec dějin umění. Translated by Jan Hlavička. Vyd. 1. Praha: Mladá fronta, 2000, 244 s. ISBN 8020408568. info
• Vizuální teorie : současné anglo-americké myšlení o výtvarných dílech. Edited by Ladislav Kesner, Translated by Lucie Vidmarová - Ladislav Kesner. Vyd. tohoto souboru 1. Jinočany: H & H, 1997, 265 s. : i. ISBN 80-86022-17-X. info

Teaching methods

The course will consist of lectures and visits in gallery insitutions in Brno.

Assessment methods

test

Language of instruction

Czech

Further Comments

Study Materials
The course is taught annually.

• Enrolment Statistics (Autumn 2016, recent)
  
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