Chapters from the History of Film Editing 1

Display Schedule

Code Completion Credits Range Language Instruction Semester
306KDSS1 credit 2 2 lecture hours (45 min) of instruction per week, 29 to 39 hours of self-study English summer

Subject guarantor

Martin ČIHÁK

Name of lecturer(s)

Martin ČIHÁK

Department

The subject provides Department of Editing

Contents

An Intersection of Montage & Humanities

Course Description:

Through exposure to a variety of readings, manifestos and screenings across the different

disciplines of humanities, students will immerse themselves in the interdisciplinary

possibility of film and specifically montage. Students will engage in stimulating

discussions that would broaden their horizons in understanding the potential of film. The

course also expands on the application of this intersection of montage and humanities on

their daily practical work and as a potential application to their theses. Group

presentations, screenings and writing exercises prepare students to acquire a deeper

analytical level.

Course Expectations:

● Students will collaborate with their classmates to research, and analyze the montage of a

short film in their midterm presentation.

● Students are expected to actively participate in class discussions and group presentations.

● Students are encouraged to show their work in progress to the class for feedback

Outcomes:

● Acquired skills to analyze technically and aesthetically short films.

● Understanding of how short films craft their stories.

● Enhanced critical thinking and visual literacy skills.

● Grasp over the film industry, specifically in the short films’ circuit.

Ressources:

https://www.locarnofestival.ch/media/vod/locarno-shorts-weeks.html

https://www.aflamuna.online/en/

Readings:

Reading assignments will be made available before the class.

Excerpts from: https://leidenshorts.nl/leiden-shorts/rewatch-reread/

Readings are attached to each week’s coursework.

Evaluation:

Professionalism and participation: 50%

Student Presentation: 50%

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Total: 100%

If a student fails to attend 60% of the classes they will have to submit a 500 word written essay

to be delivered on the final day of classes to margueritefarag@gmail.com

Please note that changes in the schedule, screenings, or readings are possible.

Class 1 - 15.02: Semiotics and Film

Class introduction and going over the syllabus

Screening:

David Pinheiro Vicente, 15 min. Portugal, France, 202

Dania Bdeir, 15 min. Lebanon, 2022

Reading: Roberge, Gaston. A Contribution of Linguistics to Film Study: Metz’ Large

Syntagmatic.Web.

→ Announcement and distribution of the presentations

Class 2 - 22.02: Public Policy and Impact Campaigns

Field Trip: Kino Palestine at Display Gallery

Guest Speaker: Zaher Jureidini

Class 3 - 29.02: Ethnography, Direct Cinema, and Cinéma Verité

Reading: Maysles, Albert. The Documentary Manifesto. web

Screening:

Minami Iizuka, 25 min. Czech Republic, 2023

Guest Speaker: Minami Iizuka

Class 4 - 07.03: Politics and Godard

Screening:

Jean-Henri Roger & Jean-Luc Godard, 52 min, France & UK, 1968

Jean-Luc Godard & Anne-Marie Miéville, 53 min, France, 1976

Reading: Godard. Jean-Luc, What is to be done? Afterimage n°1, April 1970.Web

Class 5 - 14.03: Decolonial Editing and Deleuze’s Minor Cinema

Screening:

Youssef Chahine, 23 min. Egypt, 1991

Reading: Deleuze, Gilles. Cinema 2: The Time - Image. University of Minnesota Press

Minneapolis, 1997. pp. 215-224

Khouri, Malek. The Arab National Project in Youssef Chahine’s Cinema. The American

University in Cairo Press, 2009. pp.161-163.

Class 6 - 21.03: Film & Music

Screening:

Reading: Thompson, Stacy. Punk Cinema, Cinema Journal, Vol. 43, No. 2 (Winter, 2004), pp.

47-66

Class 7 - 04.04: Students’ Presentations

In this class, students who didn’t present yet will have the opportunity to do so.

Learning outcomes

To introduce students to a more general consideration of the history and theory of editing composition and to evoke their own reflections on the relationship between the theory and practice of film composition.

Prerequisites and other requirements

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It is not possible to register for the course 306KDSS1 and for the course 306KDSS in the same semester.

It is not possible to register for the course 306KDSS1 and for the course 306KDSS2 in the same semester.

It is not possible to register for the course 306KDSS1 and for the course 306KDSS3 in the same semester.

Literature

ad 1)

Stanislav Ulver, Western Film Avant-Garde. ČFÚ, Prague 199, 323 pages, ISBN:80-7004-071-8

Martin Čihák, The submerged river of cinema. NAMU, Prague, 2013, 302 pages, ISBN: 978-80-7331-283-1

Martin Mazanec (ed), Peter Kubelka, Pastiche Filmz, Olomouc, 2008, 143 p., ISBN: 978-80-254-4218-0

Martin Kaňuch (ed), The Hungry Eye. Bratislava, 2001, 46 p., ISBN 8089009042, 9788089009046

Victor A. Grauer, Brakhage and the theory of film montage, Illuminace 3/1999.

Peter Gidal: Theory & definition of structural/material film. Illuminace 3/1999.

ad 2)

Jaroslav Anděl (ed.), Thinking about Photography. NAMU, Prague, 2012, 464 p., ISBN 978-80-7331-235-0

Karel Císař (ed.), What is Photography? Herrmann and sons, Prague, 2004, 368 p.,

Jaroslav Anděl, Soviet Film Photography of the 1920s. Odeon, Prague, 1979, 128 pp.

Tomáš Dvořák a kolektiv, Photography, Sculpture, Object. NAMU Prague, 2017, 222 pages, ISBN 978-80-7331-466-8

Vilém Flusser, Towards a Philosophy of Photography. Fra, Prague, 2013, 104 p., ISBN: 978-80-86603-79-7

Roland Barthes, The Bright Chamber. Archa, Bratislava, 1994, 124 p., ISBN 9788086603803

ad 3)

Antonín Navrátil, Dziga Vertov, the revolutionary of documentary film. ČFÚ, Prague, 1974, 252 pp.

Guy Gauthier, Documentary film, another cinema. NAMU, Prague, 2004, 520 p.,ISBN 80-7331-023-6

Antonín Navrátil, Soviet Documentary Film. ČFÚ, Prague, 1974, 370 pages

Martin Čihák (et al.), Distance Montage of Artavazd Pelešjan. NAMU, Prague, 2016, 158 pages, ISBN 978-80-7331-423-1

ad 4)

Barry Salt, Film Style and Film Technique 1895-1900, Illumination 1 /1995.

Walter Murch, In the Blink of An Eye. Silman-James Press, U.S., 2001, 120 p., ISBN: 1879505622

The Tartus School, a compendium of film theory. NFA, Prague, 1995, 249 p., ISBN80-7004-077-7

Zdeněk Hudec, Miklós Jancsó and his films. Casablanca, Prague, 2016, 208 p., ISBN 978-80-87292-34-1

Peter Mihálik, Chapters from film theory. Tatran, Bratislava, 1983, 326 pp.

Jan Bernard, Language, cinematography, communication. NFA, Prague, 1995, 184 p., ISBN80-7004-079-3

ad 5)

On the shapesetting of assembly structures - proceedings. NAMU Prague + Pastiche Filmz Olomouc, 2015, 154 p., ISBN978-80-87662-09-0

Anglo-American Studies, a collection of film theory. CFA, Prague, 1991, 159 p., ISBN8070040661, 9788070040669

The Tartus School, a collection of film theory. NFA, Prague, 1995, 249 pp., ISBN80-7004-077-7

Jan Bernard, Language, Cinematography, Communication. NFA, Prague, 1995, 184 p., ISBN80-7004-079-3

Stanislav Ulver, Time and Global Time in Film, Illuminace 2 /1989.

André Bazin: What is Film? CFA, Prague, 1979, 240 pp.

Maurice Merleau-Ponty, Film and the New Psychology. Illumination 2 /1989

Jean Epstein, The Poetics of Images. Herrmann and Sons 1997, 304 p., ISBN 978-80-238-1138-4

Vlastimil Jiřík, The Cinematographic Image, FAMU scripts, Prague, 1994, 219 pages

D. R. Hofstadter, Gödel, Escher, Bach, World Literature 1/1993.

Geometry of the living, mathematical models of morphogenesis - collection of lectures, CSVTS 1989.

Evaluation methods and criteria

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Note

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Schedule for winter semester 2024/2025:

The schedule has not yet been prepared

Schedule for summer semester 2024/2025:

06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed
Thu
room 311
Room No. 311
(Lažanský palác)
ČIHÁK M.
18:10–21:25
(lecture parallel1)
Fri
Date Day Time Tutor Location Notes No. of paralel
Thu 18:10–21:25 Martin ČIHÁK Room No. 311
Lažanský palác		 lecture parallel1

The subject is a part of the following study plans