Introduction to the World Film History and Theory II

Study Course Description

Course Description Statuss:Approved

Course Description Version:7.00

Study Course Accepted:02.02.2024 12:26:18

Study Course Information
Course Code:		KSK_255		LQF level:		Level 6
Credit Points:		2.00		ECTS:		3.00
Branch of Science:		Communication Sciences		Target Audience:		Communication Science
Study Course Supervisor
Course Supervisor:		Dita Rietuma
Study Course Implementer
Structural Unit:		Faculty of Social Sciences
The Head of Structural Unit:
Contacts:		Dzirciema street 16, Rīga, szfrsu[pnkts]lv
Study Course Planning
Full-Time - Semester No.1
Lectures (count)		6	Lecture Length (academic hours)		2	Total Contact Hours of Lectures		12
Classes (count)		4	Class Length (academic hours)		2	Total Contact Hours of Classes		8
Total Contact Hours								20
Part-Time - Semester No.1
Lectures (count)		5	Lecture Length (academic hours)		2	Total Contact Hours of Lectures		10
Classes (count)		3	Class Length (academic hours)		2	Total Contact Hours of Classes		6
Total Contact Hours								16
Study course description
Preliminary Knowledge:
The study course “Introduction to the World Film History and Theory I” has been mastered.
Objective:
To familiarise students with world cinematic art history to ensure extension of the general humanistic outlook of students. To deepen understanding of the modern history of communication and media, and importance in the context of development of European culture. To familiarise with the most important stages, stylistic trends of development of the world cinematic art and the most important representatives of film culture – their canonical works. To learn and to be able to analyse the most brilliant examples of cinematic art, which characterise the development of film history, as well as to develop understanding of the development of film language and its effects on the modern audio-visual communication space. To provide information about the world film history and its development stages. To give an understanding of basic principles of film language. The course familiarises with the development of cinema in the second half of the 20th century, emphasising the dominant element of modernism trend in the European film history of 1950s and 1960s, which appears as an opposition to the classical Hollywood style, as well as it echo in world cinematography.
Topic Layout (Full-Time)
No.	Topic			Type of Implementation		Number	Venue
1	Alfred Hitchcock – between the classical Hollywood style and authorship. Signature style within a studio system.			Lectures		1.00	auditorium
2	Genres: peculiarities of the thriller genre and the thrill mechanism in films by Alfred Hitchcock.			Classes		1.00	auditorium
3	Development of neorealism in Italy in 1940s–1950s.			Lectures		1.00	auditorium
4	Authors of Italian films – Federico Fellini, Michelangelo Antonioni and others. Culmination of Italian art films in 1950s–1970s.			Lectures		1.00	auditorium
5	Modernism trends in European cinema. Author theories and birth of the French New Wave in 1950s–1960s – activities of François Truffaut, Jean-Luc Godard and others.			Classes		1.00	auditorium
6	Reverberations of New Wave (modernism trends) in Europe, as well as in Latvia (examples of films by Rolands Kalniņš).			Classes		1.00	auditorium
7	Impact of author theory in the United States and the New Hollywood at the turn of 1960s–1970s.			Lectures		1.00	auditorium
8	Beginning of the blockbuster era in Hollywood in 1970s–1980s.			Classes		1.00	auditorium
9	Film development in Europe and the United States at the turn of the 20th and the 21st century.			Lectures		2.00	auditorium
Topic Layout (Part-Time)
No.	Topic			Type of Implementation		Number	Venue
1	Alfred Hitchcock – between the classical Hollywood style and authorship. Signature style within a studio system.			Lectures		1.00	auditorium
4	Authors of Italian films – Federico Fellini, Michelangelo Antonioni and others. Culmination of Italian art films in 1950s–1970s.			Lectures		1.00	auditorium
5	Modernism trends in European cinema. Author theories and birth of the French New Wave in 1950s–1960s – activities of François Truffaut, Jean-Luc Godard and others.			Classes		1.00	auditorium
6	Reverberations of New Wave (modernism trends) in Europe, as well as in Latvia (examples of films by Rolands Kalniņš).			Classes		1.00	auditorium
7	Impact of author theory in the United States and the New Hollywood at the turn of 1960s–1970s.			Lectures		1.00	auditorium
8	Beginning of the blockbuster era in Hollywood in 1970s–1980s.			Classes		1.00	auditorium
9	Film development in Europe and the United States at the turn of the 20th and the 21st century.			Lectures		2.00	auditorium
Assessment
Unaided Work:
To approbate the knowledge learned during lectures and seminars in the independent analysis (four A4 pages) and presentation of a film.
Assessment Criteria:
• Participation in lectures. • Participation and activity in seminars. • Seminar diploma paper – film presentation and analysis (four A4 pages).
Final Examination (Full-Time):		Exam (Written)
Final Examination (Part-Time):		Exam (Written)
Learning Outcomes
Knowledge:		As a result of mastering the course students: • Will recognise and understand main stages of development and stylistic directions of cinematic art (until 1940s–1950s). • Will analyse the interaction between cinematic art and development of society. • Will name and characterise the most important directions of cinematic art, as well as theoretical analysis approaches. • Will understand the principles of formation of film language and its use in different periods of time and in traditions of different national schools.
Skills:		As a result of mastering the course students will have obtained: • Skill to recognise different cinematic art schools. • Skill to evaluate the impact of cinematic art on modern mass media. • Skills to analyse film authors and examples of cinematic art. • Skills to interpret the impact of cinematic art on public communication. • Skills to use cinematic art message approaches in multimedia communication.
Competencies:		As a result of mastering the course students: • Will evaluate audio-visual works in films, which developed starting from 1940s. • Will recognise different uses of film language. • Will orient in classical principles of film language, as well as in alternative use of modernism principles. • Will understand the main development stages of cinematic art and domineering stylistic principles. • Will see the link between modern audio-visual culture and important stages of development of cinematic art and theoretical and practical achievements in different periods of time.
Bibliography
No.	Reference
Required Reading
1	Sklar, Robert. Film. An International History of the Medium. Themes and Hudson: London, 1993
2	Neimes, Jil (edited by). An Introduction to Film Studies. Routledge: New York, 1996
3	Bordwell, David, Thompson, Kristin. Film Art. An Introduction. McGraw-Hill, Inc. 1993
4	Abrams, Nathan, Ian Bell, Udris, Jan. Studying Film. Oxford University Press: New York., 2001
5	Villarejo, Amy. Film Studies. The Basic. Routledge, 2007
Other Information Sources
1	Filmas:
2	Dubultā apdrošināšana/Double Indemnity (1944)., rež. Billijs Vailders/Billy Wilder.
3	Sanseta bulvāris/Sunset Boulvard (1950), rež. Billijs Vailders/Billy Wilder.
4	Vertigo (1958), rež. Alfreds Hičkoks/Alfred Hitchcock.
5	Psycho/Psiho (1960), rež. Alfreds Hičkoks/Alfred Hitchcock.
6	Putni/The Birds (1963), rež. Alfreds Hičkoks/Alfred Hitchcock.
7	Logs uz sētu/Rear Window (1954), rež. Alfreds Hičkoks/Alfred Hitchcock.
8	Ceļš/La Strada (1954), rež. Federiko Fellīni/Federiko Fellini.
9	Kabīrijas naktis/Nights of Cabiria (1957), rež. Federiko Fellīni/Federiko Fellini.
10	La Dolce Vita (1960), rež. Federiko Fellīni/Federiko Fellini.
11	8 ½ (1963), rež. Federiko Fellīni/Federiko Fellini.
12	Amarcord (1973, ) rež. Federiko Fellīni/Federiko Fellini.
13	Nakts/La notte (1961), rež. Mikelandželo Antonioni/Mikelangelo Antonioni.
14	Blow-up (1966), rež. Mikelandželo Antonioni/Mikelangelo Antonioni.
15	Līdz pēdējam elpas vilcienam/Breathless (1960), rež. Jean Luc Godard/Žans Liks Godārs.
16	Weekend (1967), rež. Jean Luc Godard/Žans Liks Godārs.
17	Trakais Pjēro/Pierrot le Fou (1965), rež. Jean Luc Godard/Žans Liks Godārs.
18	400 sitieni/The 400 Blows (1959), rež. François Truffaut/Fransuā Trifo.
19	Pērn Marienbādē/Last Year at Marienbad (1961), rež. Alain Resnais/Alēns Renē.
20	Zemeņu lauks/Wild Strawberries (1957), rež. Ingmars Bergmans/Ingmar Bergman.
21	Persona/Persona (1966), rež. Ingmars Bergmans/Ingmar Bergman.
22	Rozmarijas bērns/Rosemary's Baby (1968), rež. Romans Polaņskis/Roman Polanski.
23	Panika Adatu parkā/The Panic in Needle Parks (1971), rež. Džerijs Šacbergs/Jerry Schatzberg.
24	Duelis/Duel (1971), rež. Stīvens Spīlbergs/Steven Spielberg.
25	Žokļi/The Jaws (1975), rež. Stīvens Spīlbergs/Steven Spielberg.
26	Interneta avoti:
27	http://www.davidbordwell.net
28	http://www.filmsite.org/filmh.html
29	Жорж Садуль. Всеобщая история кино http://zmier.livejournal.com/108763.html
30	2001: Kosmiskā odiseja/2001: A Space Odyssey (1968), rež. Stenlijs Kubriks/Stanley Kubrick.
31	Citplanētietis/E.T. (1982), rež. Stīvens Spīlbergs/Steven Spielberg.
32	Pa asmeni skrejošais/Blade Runner (1982), rež. Ridlijs Skots/Ridley Scott.
33	Parīze, Teksasa/Paris, Texas (1984), rež. Vims Venderss/Wim Wenders.
34	Lubene/Pulp Fiction (1994), rež. Kventins Trantīno/Quentin Tarantino.
35	Cīņas klubs/Fight Club (1999), rež. Deivids Finčers/David Fincher.
36	Telma un Luīze/Thelma and Louise (1991), rež. Ridlijs Skots/Ridley Scott.
37	Svinības/Festen/The Celebration (1998), rež. Tomass Vinterbergs/Thomas Winterberg.