FAV066 The Soviet Film Avant-garde

Faculty of Arts
Spring 2004
Extent and Intensity
2/0. 4 credit(s). Type of Completion: k (colloquium).
Teacher(s)
PhDr. Jaromír Blažejovský, Ph.D. (lecturer)
Guaranteed by
prof. PhDr. Jiří Voráč, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Thu 10:00–11:35 12
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
fields of study / plans the course is directly associated with
there are 9 fields of study the course is directly associated with, display
Course objectives
A lecture about Russian and Soviet cinema from the beginning to the end of World War II. The focus of the course is concentrated on films and theoretical works of filmmakers of the twenties (Lev Kuleshov, Dziga Vertov, Sergei Eisenstein, Vsevolod Pudovkin, Aleksander Dovzhenko, Grigori Kozintsev, Leonid Trauberg, Fridrikh Ermler), including the films about the contemporary everyday life (Jakov Protazanov, Avram Room, Boris Barnet). We will see how was the Soviet cinema subordinate to the esthetics of stalinism in the 30ties (Vasilyev bros., Grigori Alexandrov, Mikhail Romm, Mikhail Chiaureli). Literatura: Dovženko, Alexandr: Výbor z díla (Praha 1976); Ejzenštejn, Sergej: Kamerou, tužkou i perem (Praha 1961), Ejzenštejn, Sergej: Paměti (Praha 1987); Kozincev, Grigorij: Život a film; Mihálik, Peter: Sovietska filmová teória dvadsiatych rokov (Bratislava 1986); Pudovkin, Vsevolod: Film, scenár, réžia, herec (Bratislava 1982). Films: Aelita (Aelita: Queen of Mars, Yakov Protazanov 1924), Aleksandr Nevsky (Alexander Nevsky, Sergei Eisenstein 1938), Bezhin lug (Bezhin Meadow, Sergei Eisenstein 1967), Bronenosec Potyomkin (The Battleship Potemkin, Sergei Eisenstein 1925), Čelověk s kinoapparatom (The Man with the Movie Camera, Dziga Vertov 1929), Dom na Trubnoj (The House on Trubnaya, Boris Barnet 1928), Don Diego i Pelageja (Don Diego and Pelagia, Yakov Protazanov 1927), Gorky Trilogy (Mark Donskoy 1938-1940), Chapajev (Chapayev, Vasilyev Bros. 1934), Ivan Groznyj (Ivan the Terrible, Sergei Eisenstein 1944), Konec Sankt-Petyerburga (The End of St. Petersburg, Vsevolod Pudovkin 1927), Lenin v Oktyabre (Lenin in October, Mikhail Romm 1937), Mať (The Mother, Vsevolod Pudovkin 1926), Oblomok imperii (A Fragment of Empire, Fridrikh Ermler 1929), Okrajina (Outskirts, Boris Barnet 1933), Okťabr (October, Sergei Eisenstein 1927), Ona zashchishchayet rodinu (She Defends Her Country, Fridrich Ermler 1943), Potomok Čingischana (Storm over Asia, Vsevolod Pudovkin 1929), Putyovka v zhizň (The Road to Life, Nikolai Ekk 1930), Qué viva México! (Sergei Eisenstein 1979), Shinel (The Overcoat, Grigori Kozintsev, Leonid Trauberg 1926), Simfonija Donbasa (Enthusiasm, Dziga Vertov 1931), Sorok pervyj (The Forty-First, Yakov Protazanov 1927), Stachka (Strike, Sergei Eisenstein 1924), Staroe i novoe (The Old and the New, Sergei Eisenstein 1929), Treya meshchanskaya (Bed and Sofa, Avram Room 1927), Tsirk (The Circus, Grigori Alexandrov 1934), Turksib (Viktor Turin 1929), Vesyolyye rebyata (The Happy Guys, Grigori Aleksandrov 1934), Volga-Volga (Grigori Aleksandrov 1938), Vstrechnyj (Counterplan, Fridrikh Ermler, Sergei Yutkevich 1932), Zemlya (Earth, Oleksandr Dovzhenko 1930). Assessment: oral exam (list of 24 films for discussion).
Assessment methods (in Czech)
Kolokvium: filmografie 24 filmů k diskusi.
Language of instruction
Czech
The course is also listed under the following terms Spring 2010.
  • Enrolment Statistics (Spring 2004, recent)
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