FAVBKalt6 History of European Film Co-productions – Research Approaches

Faculty of Arts
Spring 2019
Extent and Intensity
2/0/0. 5 credit(s). Type of Completion: zk (examination).
Teacher(s)
doc. Mgr. Pavel Skopal, Ph.D. (lecturer)
Guaranteed by
doc. Mgr. Pavel Skopal, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Supplier department: Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Sat 4. 5. 9:00–12:40 C34, 14:00–15:40 C34
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 69 student(s).
Current registration and enrolment status: enrolled: 0/69, only registered: 0/69, only registered with preference (fields directly associated with the programme): 0/69
fields of study / plans the course is directly associated with
Course objectives
This course will provide entrances on trends of historical research on film co-production and will present students with current state of research in the field. The course will start with historical overviews and will shift towards specific case studies in the second part of the series.
Learning outcomes
The course foster a better understanding of key concepts around film coproductions and transnational dimension of film culture. The students will get knowledge of the history of international cooperation in cinema production, will be ready to use various theoretical concepts to analyse specific production milieu and will be able to put together a solid, well argued research project.
Syllabus
  • I. Inter/national co-productions: definitions, functions
  • II. Post-war co-productions in Western Europe and transnationalism
  • III. Post-war co-productions in Soviet Bloc and cultural imperialism
  • IV. PPost-war co-productions across the Iron Curtain and cultural transfer
  • V. Post-war co-productions in post-Cold War Europe and cultural capital
  • VI. Co-productions and trust (case studies: Gert Müntefering and Carlo Ponti)
  • VII. Agent and structure (case study: Pavel Hajný)
  • VIII. Cultural transfer (case study: Tři oříšky pro Popelku, Strašná žena)
  • IX. Field of production and comparison – Czechoslovakia, GDR, Poland
  • X. Co-productions: comparison and typology
Literature
  • IVANOVA, Mariana: DEFA and East European Cinemas. Co-Productions, Transnational Exchange and Artistic Collaborations. Disertační práce. Austin: University of Texas, 2011
  • SILBERMAN, Marc: Learning from the Enemy. DEFA-French Co-Productions of the 1950s. Film History, 18, 2006, č. 1, s. 21–45
  • JÄCKEL, Anne: Dual Nationality Film Productions in Europe after 1945. Historical Journal of Film, Radio and Television, 23, 2003, č. 3, s. 231–243
  • SIEFERT, Marsha: Co-Producing Cold War Culture. East-West Film-Making and Cultural Diplomacy. In: Romijn, Peter – Scott-Smith, Giles – Segal, Joes (eds.): Divided Dreamworlds? The Cultural Cold War East and West. Amsterdam: Amsterdam University Press, 20
  • BERGFELDER, Tim: International Adventures. German Popular Cinema and European Co-Productions in the 1960s. New York – Oxford: Berghahn Books, 2005
Teaching methods
Lecture
Assessment methods
Final written test - 40 points A proposal of a research project - 30 points reading list tests - 30 points 92-100 points A; 84-91 B; 76-83 C; 68-75 D; 60-67 - E; 0-59 - F
Language of instruction
Czech
Further Comments
Study Materials
  • Enrolment Statistics (recent)
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