Postmoderní filmový obraz: písemná práce - AAALE010B
|
|
|
|
|
||
|
COURSE DESCRIPTION:<br>
<br> The aim of this course is to awaken for the active spectator, in terms of aesthetics, cultural capital and politics, new utopian ways of being, dreaming, interpreting, looking, and thinking as so many forms of “labor” and of “movement”. Combining these will promote an ecology of dialectical questioning and thinking about new, utopian post-capitalist forms of beauty, equality, and freedom for the twenty-first century. These movement and labor forms are dialectically subject within the space of the cinematic frame and institution to both regressive-capitalist and progressive-emancipatory-post-capitalist forms of “circulation”. The seminar thus draws on, and explores egalitarian and novel non-hegemonic ways of engaging gestures, ideas, images, and scenes in films from a range of post-war star directors of narrative cinema: Chantal Akerman (Belgium), Michelangelo Antonioni (Italy), Rainer Werner Fassbinder (Germany), Terrence Malick (USA), Alain Resnais (France), Andrei Tarkovsky (USSR), Agnès Varda (France), and Orson Welles (USA), (i.e., post-1947 Occidental and Soviet cinema). Cinema as the art of forms of movement thus will be evaluated anew. Attention will be given to those cinematic moments and scenes that teach and that train us in new non-dominatory and emancipated viewing strategies of movement and circulation as so many forms of utopian thinking and looking. In so doing, we consider arts and forms of movement and circulation as not only subject to capitalist commodification, but also as modes of active and transformative engagement, interpretation, and thinking that take place precisely in a shared space for post-capitalist common content, creation, and thought for post-capitalist and emancipated utopian forms of circulation and circulationism. The role of cinematic silence and of the unconscious in film culture will also be assessed. Film criticism and philosophy, and philosophical criticism, will include texts from Giorgio Agamben (Italy), Nico Baumbach (USA), Jonathan Beller (USA), Walter Benjamin (Germany), Leo Bersani-Ulysse Dutoit (USA), Jan Campbell (UK), David A. Cook (USA), Gilles Deleuze (France), Georges Didi-Huberman (France), Mark Fisher (UK), Fredric Jameson (USA), Niklas Luhmann (Germany), Todd McGowan (USA), Ivone Margulies (USA), Edgar Morin (France), Hannah Patterson (USA), Jacques Rancière (France), Erik S. Roraback (USA/Czechia), Marion Schmid (France), Nicolás Salazar Sutil (UK), Steven Shaviro (USA), Bernard Stiegler, (France), Robert T. Tally Jr. (USA), François Truffaut (USA), and Slavoj Žižek (Slovenia/UK). All films are either in English or have English inter-titles or sub-titles. Clips and special features from DVD/Blu-ray discs will also be shown. The course is conducted in English and consists of three clock-hour-long sessions (i.e., four academic hours) to allow sufficient time for both the screenings and for seminar lecture/discussion. Strategically, we shall engage our target pictures in a counter chronological way in order to problematize facile teleological and linear ways of thinking and of reasoning; this will also provide us with a different perspective on the autopoietic development of the cultural system of film. Poslední úprava: Roraback Erik Sherman, doc., D.Phil. (14.12.2024)
|
|
||
|
Material: Conrad, Peter: The Mysteries of Cinema: Movies and Imagination (Thames & Hudson, 2021). _____ . The Stories of His Life: Orson Welles (Faber & Faber, 2003). Cook, David A.: A History of Narrative Film (Norton, 2004). Fisher, Mark: The Weird And The Eerie (Repeater, 2016). Heylin, Clinton. Despite the System: Orson Welles Versus the Hollywood Studios (Canongate, 2005). Jameson, Fredric: Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (Verso, 2005). _____ . Raymond Chandler: The Detections of Totality (Verso, 2016). _____ . The Geopolitical Aesthetic: Cinema and Space in the World System (Indiana, 1995). Kline, T. Jefferson, ed. Agnès Varda: Interviews (Mississippi, 2014). Lambert, Gregg: “The Brain is the Screen: An Interview with Gilles Deleuze” in Flaxman, Gregory, ed., The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minnesota, 2000). Margulies, Ivone: Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke, 1996). Working title: Forms of Cinematic Cultural Capital: Circulation, Movement, and Thought. Salazar Sutil, Nicolás: Motion and Representation: The Language of Human Movement (MIT, 2015). Schmid, Marion. “The Visual Artist’s Gaze Agnès Varda’s Intermedial Layering” in Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh, 2019) pp. 95–105. Tally, Robert T. Jr.: Utopia in the Age of Globalization: Space, Representation, and the World-System (Palgrave Macmillan, 2013). Thomsen, Christian Braad: “The Double Man”, “Bavaria and Hollywood” and “Querelle” in Fassbinder: The Life and Work of a Provocative Genius, trans. Martin Chalmers (Faber and Faber, 1997) pp. 1–44, 101–10, and 302–11. Wagner, Keith B., Jeremi Szaniawski, and Michael Cramer, eds.. afterword Fredric Jameson: Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema (Rutgers, 2022). Žižek, Slavoj, ed.: Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock (Verso, 2010). Poslední úprava: Roraback Erik Sherman, doc., D.Phil. (14.12.2024)
|
|
||
|
seminář Poslední úprava: Roraback Erik Sherman, doc., D.Phil. (09.02.2019)
|
|
||
|
TIME AND PLACE: The aim of this course is to awaken for the active spectator, in terms of aesthetics, cultural capital and politics, new utopian ways of being, dreaming, interpreting, looking, and thinking as so many forms of “labor” and of “movement”. Combining these will promote an ecology of dialectical questioning and thinking about new, utopian post-capitalist forms of beauty, equality, and freedom for the twenty-first century. These movement and labor forms are dialectically subject within the space of the cinematic frame and institution to both regressive-capitalist and progressive-emancipatory-post-capitalist forms of “circulation”. The seminar thus draws on, and explores egalitarian and novel non-hegemonic ways of engaging gestures, ideas, images, and scenes in films from a range of post-war star directors of narrative cinema: Chantal Akerman (Belgium), Michelangelo Antonioni (Italy), Rainer Werner Fassbinder (Germany), Terrence Malick (USA), Alain Resnais (France), Andrei Tarkovsky (USSR), Agnès Varda (France), and Orson Welles (USA), (i.e., post-1947 Occidental and Soviet cinema). Cinema as the art of forms of movement thus will be evaluated anew. Attention will be given to those cinematic moments and scenes that teach and that train us in new non-dominatory and emancipated viewing strategies of movement and circulation as so many forms of utopian thinking and looking. In so doing, we consider arts and forms of movement and circulation as not only subject to capitalist commodification, but also as modes of active and transformative engagement, interpretation, and thinking that take place precisely in a shared space for post-capitalist common content, creation, and thought for post-capitalist and emancipated utopian forms of circulation and circulationism. The role of cinematic silence and of the unconscious in film culture will also be assessed. Film criticism and philosophy, and philosophical criticism, will include texts from Giorgio Agamben (Italy), Nico Baumbach (USA), Jonathan Beller (USA), Walter Benjamin (Germany), Leo Bersani-Ulysse Dutoit (USA), Jan Campbell (UK), David A. Cook (USA), Gilles Deleuze (France), Georges Didi-Huberman (France), Mark Fisher (UK), Fredric Jameson (USA), Niklas Luhmann (Germany), Todd McGowan (USA), Ivone Margulies (USA), Edgar Morin (France), Hannah Patterson (USA), Jacques Rancière (France), Erik S. Roraback (USA/Czechia), Nicolás Salazar Sutil (UK), Marion Schmid (France), Steven Shaviro (USA), Bernard Stiegler, (France), Robert T. Tally Jr. (USA), François Truffaut (USA), and Slavoj Žižek (Slovenia/UK). All films are either in English or have English inter-titles or sub-titles. Clips and special features from DVD/Blu-ray discs will also be shown. The course is conducted in English and consists of three clock-hour-long sessions (i.e., four academic hours) to allow sufficient time for both the screenings and for seminar lecture/discussion. Strategically, we shall engage our target pictures in a counter chronological way in order to problematize facile teleological and linear ways of thinking and of reasoning; this will also provide us with a different perspective on the autopoietic development of the cultural system of film. Material: Fisher, Mark: The Weird And The Eerie (Repeater, 2016). Heylin, Clinton. Despite the System: Orson Welles Versus the Hollywood Studios (Canongate, 2005). Jameson, Fredric: Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (Verso, 2005). _____ . Raymond Chandler: The Detections of Totality (Verso, 2016). _____ . The Geopolitical Aesthetic: Cinema and Space in the World System (Indiana, 1995). Kline, T. Jefferson, ed. Agnès Varda: Interviews (Mississippi, 2014). Lambert, Gregg: “The Brain is the Screen: An Interview with Gilles Deleuze” in Flaxman, Gregory, ed., The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minnesota, 2000). Le Fanu, Mark: “Stalker” in The Cinema of Andrei Tarkovsky (BFI, 1987) pp. 92–107. Margulies, Ivone: Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke, 1996). Working title: Forms of Cinematic Cultural Capital: Circulation, Movement, and Thought. Salazar Sutil, Nicolás: Motion and Representation: The Language of Human Movement (MIT, 2015). Schmid, Marion. “The Visual Artist’s Gaze Agnès Varda’s Intermedial Layering” in Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh, 2019) pp. 95–105. Tally, Robert T. Jr.: Utopia in the Age of Globalization: Space, Representation, and the World-System (Palgrave Macmillan, 2013). Thomsen, Christian Braad: “The Double Man”, “Bavaria and Hollywood” and “Querelle” in Fassbinder: The Life and Work of a Provocative Genius, trans. Martin Chalmers (Faber and Faber, 1997) pp. 1–44, 101–10, and 302–11. Wagner, Keith B., Jeremi Szaniawski, and Michael Cramer, eds.. afterword Fredric Jameson: Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema (Rutgers, 2022). Žižek, Slavoj, ed.: Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock (Verso, 2010).
Week 4 / 4 March: Das Neue Kino: Fassbinder (New German Cinema) Week 7 / 25 March: Agnès Varda & the French New Wave Pre-film lecture and screening: Cléo from 5 to 7 (Cléo de 5 à 7, 1962, French with English subtitles, dir. Agnès Varda) Readings: T. J. Kline, ed.: Agnès Varda: Interviews (Mississippi, 2014). Pages to be announced in class. E. Roraback: “General Intellectual Circulation Within Vardes’s Cléo de 5 à 7 (Cléo from 5 to 7)”. M. Schmid: “The Visual Artist’s Gaze Agnès Varda’s Intermedial Layering” in Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh UP, 2019): pp. 95–105. Week 8 and Week 9 / 1 and 8 April: Post French New Wave Cinema, Life, and Death Poslední úprava: Roraback Erik Sherman, doc., D.Phil. (14.12.2024)
|
