Realm of Montage

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Code Completion Credits Range Language Instruction Semester
311REM ZK 3 4T English winter and summer

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

At the end of the course students should be able to analyze elements of the film language within a scene.

Mode of study


Prerequisites and co-requisites


Course contents

“Film is like a battlefield: love, hate, action, violence, death... in one word – emotion,” says Samuel Fuller playing himself in Godard’s Pierrot le fou. Montage sequences create emotions in film, and they show not only the work of the editor but also the specific film language and philosophy of the director. We will study excerpts from well-known films that express interestingly extreme and emotional life situations.

Man Ray used to say when he was teaching at UCLA: „Think of your film as of a necklace that consists of individual jewels - sequences“. We will try to understand what choices helped the famous filmmakers to create those jewels.

  1. opening as a code

openings linked to endings: Blue Velvet, Death in Venice

historical: JFK, Milk, Natural Born Killers

emotional: The Color: Blue, Europe

character-driven: Apocalypse now, Taxi Driver, Down by Law

  1. emotional effect of jump cuts

existential: Breathless,

dogma 95: Breaking the Waves, Festen, The Idiots, Dogville

nonlinear: The Limey

  1. love scenes

Eros and Tanathos, solitude and desire: India song

sex: Hiroshima mon amour, The Lover, Woman of The Dunes, Last Tango in Paris

end of love: L’meprise

(im)possibility of love: Pierrot le Fou, In The Mood For Love, Damnation, L’ecclise, La Notte

  1. death scenes

suicide: Satantango, Million Dollars Hotel, Distant Journey, Solaris, Lilya 4 ever, Mulholland Drive, Solaris

personification of death: Seventh seal, All that jazz, The Cremator

  1. architecture as a tool of portraying the inner life

social and personal: L’avventura, Red Desert,

esthetics: The Belly of an Architect, Zed and two noughts, Last Year At Marienbad

insanity: Lost Highway

meditative: Vertical Features Remake

  1. power of voice over

memory: La jetée

essay: The Windows, H is for House,

impressionism: Badlands, Days of Heaven,

juxtaposition: India Song

vertical montage: Chunking Express

  1. expressing violence

humor or tears: Pulp Fiction, Blue Velvet, A Clockwork Orange

perspective: Elephant

psychology: Straw Dogs, Once There Were Warriors

aftermath: L'argent, Lilya4ever

symbolic: Throne of Blood

  1. chase or escape

minimalistic: Down By Law, A Man Escaped, Diamonds of the night

microstories: French Connection

philosophy: Blade Runner

symbolic: An Occurrence at The Owl Creek, Mother

psychology: Vagabond, Bicycle Thief

  1. creating suspense

ticking bomb: Birds, Notorious, Carrie

perspective: Mulholland Drive, The Bread

game: Dressed to Kill

seduction: Blade Runner, Out of sight, 3 IronThe Cook, The Thief, His Wife, Her Lover

manipulation: Wild at Heart

  1. art of transcendence

art as a subject: Limits of control, Frida

leitmotif: Hana-Bi , La belle captive

transcendence and structure: The Mirror, Antichrist, Elisa, vida mia

meditation on life and death: Nostalgia

  1. the other reality

dream: Wild Strawberries

trip: Easy Rider, The Trip, 10 minutes

life with drugs: Requiem For A Dream

surrealism: Eraserhead

Recommended or required reading

Kovács, András Bálint. Screening modernism: European art cinema, 1950-1980 [online]. Chicago: University of Chicago Press, ©2007. Cinema and modernity [cit. 2019-09-18].

Assessment methods and criteria

attendance and practical assignment


Teacher´s email address is:

Schedule for winter semester 2020/2021:

room 107
Room No. 1

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Thu 12:20–15:35 Bára KOPECKÁ Room No. 1
Lažanský palác
online lecture parallel1

Schedule for summer semester 2020/2021:

The schedule has not yet been prepared

The subject is a part of the following study plans