FAVz083 Styles and Practice of Film Historiography

Filozofická fakulta
podzim 2020
Rozsah
2/0/0. 5 kr. Ukončení: zk.
Vyučující
Casper Tybjerg (přednášející), Mgr. Radomír D. Kokeš, Ph.D. (zástupce)
Mgr. Daniel Krátký (pomocník)
Mgr. Kateřina Šardická (pomocník)
Garance
Mgr. Radomír D. Kokeš, Ph.D.
Ústav filmu a audiovizuální kultury – Filozofická fakulta
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury – Filozofická fakulta
Rozvrh
Po 23. 11. 11:00–11:50 VP, 15:00–15:50 VP, Út 24. 11. 11:00–11:50 VP, 18:00–18:50 VP, St 25. 11. 11:00–11:50 VP, 16:00–16:50 VP, Čt 26. 11. 10:00–10:50 VP, 18:00–18:50 VP, Pá 27. 11. 11:00–11:50 VP, 19:00–19:50 VP
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Mateřské obory/plány
Cíle předmětu
This series of lectures will be based on my nearly-completed book, The Historiography of Filmmaking – through the Lens of Carl Th. Dreyer. I will examine the theory of film history-writing, focusing on what has been called aesthetic film history. In the last ten to fifteen years, much of the energy in film historical research has been in the area called New Cinema History, which has emphasized the importance of archival documents but also sought to shift the focus of the discipline towards the history of movie-going as a social phenomenon and away from the history of cinema as an art form. I also emphasize the importance of archival work, but I am more interested in using it to illuminate what filmmakers did.
Many of the examples I will present involve Carl Th. Dreyer’s film La Passion de Jeanne d’Arc (France 1928). I strongly recommend that you watch the film before coming to the lectures.
The course consists a series of ten lectures via Zoom, each running 40-45 minutes with a 10-15 minute discussion afterwards. One lecture each day during the week 23-27 November; one in the morning and one in the afternoon.
I. Approaches to the Historiography of Films
II. Film Viewing as a Research Method
III. The Concept of Facture
IV. Film Ecdotics: Studying the "Edition History" of Films
V. The Use of Historical Documents by Filmmakers and Historians
VI. Historical Evidence and the Criticism of Sources
VII. Working on the Works of other Historians
VIII. The Distinction between Historiography and Fiction
IX. The Structure of the Historiographical Account
X. The Persona of the Film Historian and the Style of the Account
Výstupy z učení
After completing the course, the student can:
Distinguish different types of film historiography
Explain the importance of distinguishing between different editions and versions of the “same” film
Conduct a stylistic analysis of a piece of historiography or similar scholarly prose
Discuss theoretical problems of film historiography
Osnova
  • The course consists a series of ten lectures via Zoom, each running 40-45 minutes with a 10-15 minute discussion afterwards. One lecture each day during the week 23-27 November; one in the morning and one in the afternoon.
  • I. Approaches to the Historiography of Films
  • II. Film Viewing as a Research Method
  • III. The Concept of Facture
  • IV. Film Ecdotics: Studying the "Edition History" of Films
  • V. The Use of Historical Documents by Filmmakers and Historians
  • VI. Historical Evidence and the Criticism of Sources
  • VII. Working on the Works of other Historians
  • VIII. The Distinction between Historiography and Fiction
  • IX. The Structure of the Historiographical Account
  • X. The Persona of the Film Historian and the Style of the Account
Literatura
  • ALLEN, Robert Clyde a Douglas GOMERY. Film history : theory and practice. First edition. Boston: McGraw-Hill, 1985, xii, 276. ISBN 0075548712. info
Výukové metody
Lectures, reading, on-line tests. The 100% attendance at the lectures is compulsory and will be checked throughout every lecture.
Metody hodnocení
Apart from the compulsory attendance students will have 15 minutes to answer three very brief and simple questions about a specific text related to the upcoming lectures. Six points maximum can be gathered from a test every day; that makes thirty points total. These tests will make up 50% of the grade. Second, the final test will be consisting of three questions testing your acquaintance with the literature (1 question) as well as your knowledge and skills gained throughout the course itself (2 questions).


LITERATURE

Monday:
- Chapman, James. Researching Film and History: Sources, Methods, Approaches. In Eric Margolis and Luc Pauwels (eds.). The SAGE Handbook of Visual Research Methods. London: SAGE, 2011, pp. 359-371.

Tuesday:
- Cherchi Usai, Paolo. The Conservation of Moving Images. Studies in Conservation. 2020, vol. 55, no. 4, pp. 250-257.
- Baxandall, Michael. Review of Peter Burke, Eyewitnessing (2001). English Historical Reivew. 2002, vol. 117, June (472), pp. 642-644.
- Summers, David. The Subject in/of Art History: On the Histories of Artifacts. Art Bulletin. 1994, vol. 76, no. 4, pp. 590-592.

Wednesday:
- Müller, Philipp. Understanding History: Hermeneutics and Source-Criticism in Historical Scholarship. In Miriam Dobson and Benjamin Ziemann (eds.). Reading Primary Sources: The Interpretation of Texts from 19th and 20th Century History. London: Routledge, 2008, pp. 21-36.

Thursday:
- Bordwell, David. The Power of a Research Tradition: Prospects for Progress in the Study of Film Style. Film History. 1994, vol. 6, no. 1, s. 59-79.

Friday:
- Allen, Robert C. and Gomery, Douglas. Film History: Theory and Practice. New York: McGraw Hill, 1985, s. 43-64.
Vyučovací jazyk
Angličtina
Další komentáře
Studijní materiály
Předmět je vyučován jednorázově.
Předmět je zařazen také v obdobích jaro 2020.
  • Statistika zápisu (nejnovější)
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