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Lecturer(s)
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Course content
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The final overview course in the history of world cinema, a follow-up to DSF1 and DSF2. It is focused on the development of world cinema in the second half of the 20th century, specifically from the onset of the new waves in Western Europe in the 1950s and 1960s, to the 1990s. Besides European and US film production, the course pays attention to Asian cinema, which gains prominence during this era on the international market. The analysis of themes and style of given movements and filmmakers is accompanied by a detailed look on the industrial, social and cultural background, along with critical assessment of a particular epoch then as well as today. 1. Author film and national cinematography Birth of the author film concept in french film critique and theory of the 40th and 50th (Alexandre Astruc, François Truffaut), its application of american criticism of the 60th years (Andrew Sarris) and its influence on the creation of film history. The thesis by Susan Hayward and other historians focused on the national cinematography concept with accent on the global character of the contemporary cinematography. 2. French New Wave Ideological starting points, social context, narrative and style innovations. The determination of two principal groups (Nouvelle Vague and Rive Gauche) and the analysis of principal directors and their films. 3. French film after New Wave - neo-baroque Change of the film creation context in the 70th and 80th years, influence of postmodern and video-clip aesthetic. Cinéma du look and lush visuality as a common denominator of the Jean-Jacques Beineix's, Luc Besson's and Leos Carax's creation. 4. Italian film after neorealism Diversion from the realistic starting points to the stylization in films of Frederico Fellini. Disaffection and psychology of the space in Michelangelo Antonioni's films. Politicization and love of cinema in Bernardo Bertolucci's creation. Radical marxism and provocation of Pier Paolo Pasolini. 5. British free cinema and New Wave Transformations of post-war working class, formation of documentary school and literature and theatre influence (Angry Young Men, kitchen sink) to British New Wave (Tony Richardson, Karel Reisz, Lindsey Anderson). Positive critical reception and modern reevaluation. 6. Oberhausen and New German Cinema Post-war separation of Germany and its influence on the cinematography. Young generation, festival in Oberhausen and manifest of New film. Alexander Kluge's creation. German history and melodrama of Rainer Werner Fassbinder, heroism and transcendence of Werner Herzog. 7. East European film in communism era Organization of film industry in countries of Eastern bloc after the beginning of communism (Poland, Hungary, etc.). The determination of social themes and of the influence of censorship on the film production. New Polish film and cinema of moral disconcertion, creation of Miklós Jancsó. 8. Soviet cinema and poetic tradition Propaganda and image of Second World War. Start of new generation of 60th years, Andrej Tarkovskij. Influence of folk tradition on Ukraine, Georgia and Armenia. Films of Sergei Parajanov. 9. Development of american studios and New Hollywood Modifications of audience and society in the 60th years, independent production, alternative modes of distribution and exploitative genres. Decomposition of vertical system and production code. New wave of directors, consolidation of studies and progress of the genre creation (Lucas, Spielberg, Coppola). Politic of blockbusters of 70th. 10. Beginning and development of american independent film History of independent production in USA (avant-garde, New York). John Cassavettes and 60th years. Consolidation of production and distribution base of independent scene in the 70th and 80th years, the specific propagandistic and marketing strategies. Jim Jarmush's, John Saylese's creation, etc.
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Learning activities and teaching methods
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Monologic Lecture(Interpretation, Training)
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Learning outcomes
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Final part of a compendious history of cinema. The lectures will focus on modern and postmodern cinema from the 1960s to present day with its institutional, technological, aesthetic and cultural transformations. The position of cinema in relation to new media (TV, digital technologies) and an ongoing era of globalization will be reflected as well.
After passing the course student will know the basic movements, directors and principle films of the world cinematography of the second half of the 20th century, including social and political background of the transformations in cinematography. He will be able to valorize the aesthetic starting points of these transformations in industrial context in this period (technological change-over, modification in strategy of distribution and propagation, etc.). Student could analyze film by its each aspect and compare it not just with production of director's cinematography, but also in spectrum of the art movements or trends. He could resume their specific style and narrative methods. he could profit of his knowledge by the writing the edifying work, the academic publication or the research work.
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Prerequisites
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The knowledge of the foregoing periods of the history of cinema. The courses necessary to graduation of these lectures: The History of World Cinema 1, The History of World Cinema 2.
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Assessment methods and criteria
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Mark, Written exam
Knowledge of the themes and the necessary literature, ability to analyze chosen principal films of the monitored period in light of different contextual meanings (aesthetic, institutional, social and political, critical), ability to find the analogy trough the national cinematographies.
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Recommended literature
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Andrew, G., & Pěnčiková, M. (2001). Podivnější než ráj: filmový režiséři nezávislé scény v současné americké kinematografii. Praha: Volvox Globator.
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COOK, David A. (2004). A History of Narrative Film. New York.
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EZRA, Elizabeth. (2004). European Cinema. Oxford.
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IORDANOVA, Dina. (2003). Cinema of the Other Europe. The Industry and Artistry of East Central European Cinema. London .
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KING, Geoff. (2002). New Hollywood Cinema: An Introduction. London.
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LEYDA, Jay. (1983). A History of the Russian and Soviet Film. Princeton .
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Monaco, J., Janeček, V., & Liška, T. (2001). Nová vlna: Truffaut, Godard, Chabrol, Rohmer, Rivette. V Praze: Akademie múzických umění.
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SORLIN, Pierre. (1996). Italian National Cinema 1896?1996. London .
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STANDISH, Isolde. (2006). A New History of Japanese Cinema. New York .
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THOMPSONOVÁ, Kristin, BORDWELL, David. (2007). Dějiny filmu. Praha .
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