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Lecturer(s)
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Faltýnek Dan, doc. Mgr. Ph.D.
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Course content
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(1) Narratology as a science (1.1) Narrative, and narrative models, narrativity, fundamental narrative structures (the story and the discourse, mimésis and diegésis) and how they work (1.2) Film as a research object for the theory of communication and for semiotics (1.3) The model of narrative communication levels and instances (1.3.1) Extra/intra-textual levels; extra/intra-dietetic levels; metadietetic level (2) Narrative, description and argumentation in the film (2.1) Intermediality and intertextuality, definition of intermediality (Foucault's dispositif) (2.2) Narrativity and film (2.3) Reference (re-presentation and out of text reference), a) referring to the real world: what is it we refer to? (authentication and identification), b) intertextuality, intratextuality, metatextuality, c) paratextual features of a narrative text; realism and the film (medium form text) (2.4) transmediality (mixed media, multimedia: combination/juxtaposition) (3) Trends in the film narratology research and the semiotic research into the film (3.1) Ch. Metz: film semiology (3.2) Seymour Chatman: the classical model of film narrative (3.3) David Bordwell: neoformalism (3.4) Introduction to intermedial narratology (4) Semiotic model of film - narrative (4.1) The inner semantic structure of a narrative (4.1.1) Story, event, plot (sequence, cohesion, causality, probability, motivation) (4.1.2) Typology of plot composition (4.1.3) Space-time (the story time and the discourse time: linearity and order; time distance: analepsis and prolepsis, amplitude; duration, frequency; the story space and how it works as a reference) (4.1.4) Typology of plot composition, time and space in the film; film and other media (photography, sound); D. Higgins and the Fluxus group. (5) Film narrative subjects (5.1) Discourse background: narrator (textual and extratextual subjects typology; "narrated" and "non-narrated" storytelling: ways to tell a story; the authority of voice and the narrator's comments) (5.2) Competence, reflector, focus and focalization; knowing things, saying things and pointing at things; mode, voice (5.2.1) Zero, internal and external focalization and how they are manifested in the film (5.2.2) Handheld camera, first-person camera (5.3) Characters (closed and open character construction; character as a paradigm of traits; character as a possessor of mind; character as a narrative element: doers and actors, subjects and objects) (5.4) Character, narrator, author and the film (6) Sound as a narrative power (7) Narrative principles of a genre (7.1) Basic principles of genre model analysis (8) Analysis 1 (analysis of a topic/feature demonstrated on a selected film) (9) Analysis 2 (analysis of a topic/feature demonstrated on a selected film) (10) Analysis 3 (analysis of a topic/feature demonstrated on a selected film)
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Learning activities and teaching methods
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Lecture, Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming), Work with Text (with Book, Textbook)
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Learning outcomes
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The theory of intermediality is not concerned solely with the film or the fine arts or the video or the music or the digital media or the audiovisual language; rather, it tries to focus on all of these simultaneously, looking for the meaning somewhere in between, in the areas where these genres (or, generally, phenomena) overlap. Intermediality can be treated, on the one hand, as the way the "hybrid" media manifested themselves throughout history and, on the other hand, as an art manifesto, a theory of an art school or a research approach. Either way, it can defined as a manifestation of a relationship of at least two media forms fused together in such a way that makes it impossible to discern or reconstruct the original autonomous components. Intermedial relationships can be identified in the domains of picture, sound, and text, or as part a narrative (the way different narrative structures and other formal features intertwine); it can also been viewed as a technological, industrial or economic fusion or even as a fusion of different perception habits/horizons, thus pointing to a broader production/perception context, both culture- and technology-wise. The course will be commenting on (or analyzing) a few of the huge number of topics related to the links between discourse formations. Central to the course will be semiotic analysis of film as an audiovisual work of art.
Have knowledge of film narratology Be able to identify narrative components used in a film Be able to discuss and analyze a range of topics concerned with film narration
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Prerequisites
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Basic orientation in semiotics
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Assessment methods and criteria
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Student performance
(1) regular class attendance (80%) (2) assigned readings and in-class discussion (3) writing assignment
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Recommended literature
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Auerbach, E. Mimesis. Zobrazení skutečnosti v západoevropských literaturách.Praha 1998.
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Aumont, J. (ed.). (1992). Aesthetics of Film . Austin.
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Bal, M. Narratology: Introduction to the Theory of Narrative, University of Toronto Press, Toronto 1985.
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Barthes, R. The Semiotic Challenge, Hill and Wang, New York 1988.
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Bellour, R., Calmann-Lévy (ed.). (1979). L´analyse du film. Paris.
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Bordwell, D. Narration of the Fiction Film, The University of Wisconsin Press, Wisconsin 1985.
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Brémond, C. Logique du récit, Seuil, Paris 1973.
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Genette, Gérard. (1979). Narrative Discourse: An Essay in Method. Ithaca, NY.
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Greimas, A. J. (1983). Structural Semantics. An Attempt at a Method. Lincoln - London.
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Herman, David. (2002). Story Logic: Problems and Possibilities of Narrative. Lincoln.
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Chatman, S. Story and Discourse: Narrative Structure in Fiction and Film, Cornwell Univ. Press, Ithaca 1978.
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Chatman, Seymour. (2004). Dohodnuté termíny. Rétorika narativu ve fikci a filmu.. Olomouc.
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Kuhn, M. (2011). Film-Narratologie. Ein Erzählttheoretisches Analysemodell. Berlin & New York.
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Martínez-Bonati, F. (1981). Fictive Discourse and the Structures of Literature: A Phenomenological Approach. Ithaca.
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Metz, C., & Pechar, J. (1991). Imaginární signifikant: psychoanalýza a film. Praha: Český filmový ústav.
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Pier, J. Sémiotika narativu. Praha-Brno 2006.
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Rudrum, D. From Narrative Representation to Narrative Use: Towards the Limits of Definition, Narrative, vol. 13, No. 2, May 2005.
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Ryan, M.L. Narrative across Media: The Languages of Storytelling (Frontiers of Narrative), University of Nebraska Press, Lincoln 2004..
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Schmid, Wolf. Narativní transformace, AVČR, Praha 2004.
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Stam, R., Burgoyne, R., Flitterman-Lewis, S. (2006). New Vocabularies in Film Semiotics. Routledge, London & New York.
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Verstraten, P. (2009). Film Narratology. Toronto, Buffalo, London.
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