Avant-garde Academy 4

General data

Course ID:	3002-AFA22
Erasmus code / ISCED:	14.7 Kod klasyfikacyjny przedmiotu składa się z trzech do pięciu cyfr, przy czym trzy pierwsze oznaczają klasyfikację dziedziny wg. Listy kodów dziedzin obowiązującej w programie Socrates/Erasmus, czwarta (dotąd na ogół 0) – ewentualne uszczegółowienie informacji o dyscyplinie, piąta – stopień zaawansowania przedmiotu ustalony na podstawie roku studiów, dla którego przedmiot jest przeznaczony. / (0314) Sociology and cultural studies The ISCED (International Standard Classification of Education) code has been designed by UNESCO.
Course title:	Avant-garde Academy 4
Name in Polish:	Akademia filmu awangardowego 4
Organizational unit:	Institute of Polish Culture
Course groups:	(in Polish) Konwersatoria fakultatywne IKP
Course homepage:	https://www.akademiadokumentalna.pl/
ECTS credit allocation (and other scores):	(not available) Basic information on ECTS credits allocation principles: the annual hourly workload of the student’s work required to achieve the expected learning outcomes for a given stage is 1500-1800h, corresponding to 60 ECTS; the student’s weekly hourly workload is 45 h; 1 ECTS point corresponds to 25-30 hours of student work needed to achieve the assumed learning outcomes; weekly student workload necessary to achieve the assumed learning outcomes allows to obtain 1.5 ECTS; work required to pass the course, which has been assigned 3 ECTS, constitutes 10% of the semester student load. view allocation of credits
Language:	Polish
Type of course:	elective courses
Prerequisites (description):	Students should be familiar with a wide range of issues related to history and history of culture and art, social sciences. She/He should have basic knowledge of film art - both feature film and documentary film, contemporary art. Students should recognize the basic genres of film art, recognize the forms of expression belonging to film and audiovisual arts, which traditionally belong to the cinema of fiction and cinema of facts.
Short description:	Classes combined with film screenings, during which students will learn about the phenomena of the avant-garde film from the 1940s, to which contemporary artists refer in their works. The classes introduce the tradition of avant-garde cinema and present contemporary documentary films whose authors use a language developed on the basis of the avant-garde. The classes focus on theoretical texts of filmmakers developed on the basis of the avant-garde. Participants of the classes will receive a book on the theoretical contribution of woman filmmakers to the heritage of the avant-garde, which will be published in December, 2022. The condition for participation is the purchase of a film pass. Pass price: PLN 100. First lesson: October 11, 2022 Lecturers: dr Marcin Borchardt, Sebastian Cichocki, prof. dr hab. Marcin Giżycki, Paulina Haratyk, Karol Radziszewski, prof. dr hab. Małgorzata Radkiewicz, dr Gabriela Sitek Coordinator: dr Gabriela Sitek (g.sitek@uw.edu.pl)
Full description:	Among the topics discussed are the canon of world cinema history: The Great Avant-garde - the Dadaist film (“Mechanical Ballet” by Fernand Léger, 1924, “Antrakt” by René Clair, 1924), the surrealist film (“Andalusian Dog” by Luis Buñuel and Salvador Dali, 1929, “Golden Age” by Luis Buñuel , 1930), “The Seashell and the Clergyman” by Germaine Dulac, 1928, as well as the pioneer productions of the Polish avant-garde film of the 1920s and 1930s. “The Adventure of a Good Man”, 1937, “Europe”, 1931–1932 by Franciszka Themerson and Stefan Themerson; films reconstructed today based on traces of the surviving concepts of “Pharmacy” by Bruce Checefsky 2001, “Moment Musical”, 2006, “Jalu Kurek - RC- Rhythmic Calculations”, 1985). Paying attention to the tradition of the twentieth century film avant-garde is important both due to the development of its first film poetics and its constitutive influence on the shape of avant-garde art (see R. W. Kluszczyński, Film - Sztuka Awangardy, Warsaw-Łódź 1990). The participants will learn the tradition of the American avant-garde cinema of the 1920s, 30s and 40s (including films by Marie Menken, Maya Deren, “Fireworks” by Kenetha Angera, 1947). The cycle program covers the history of the American film avant-garde of 1960-1980 (including works by Jonas Mekas, Andy Worhol). During the course, participants will learn about the relationship between amateur and avant-garde cinema, the history and contemporary realizations of found footage cinema, the works of Joseph Beuys. Classes include presentation of the texts by avant-garde artists, especially woman film directors, who dealt with topics related to the broadly understood reflection on film form and cinema, directing practice - relationship between cinema and cultural trends / attitudes: feminism, black feminism, colonialism and post-colonialism, queer theory. The course will present the theoretical concepts of directors: Germaine Dulac, Maya Deren, Laura Mulvey, Julie Dash, Trinh T. Minh-ha, Alexandra Juhasz. The screenings will cover the film work of these characters, which has a significant impact on shaping the tradition of the avant-garde film. Participants will see the films: "Riddles of the Sphinx", 1977, "Frida Kahlo & Tina Modotti", 1982, by Laura Mulvey and Peter Wollen, "Illusions", 1983 by Julie Dash, "Surname Viet Given Name Nam", 1989, by Trinh T. Minh-ha. Students enrolled in the classes will receive the publication, which will be released in December. An integral part of the classes will be screenings of contemporary documentary films drawing on the Avant-Garde tradition and classic avant-garde films of the 1950s, 60s, 70s and 80s. The echoes of these traditions can be found in contemporary documentary cinema as films whose authors are nowadays one from the group of filmmakers most open to the experiment. Documentary films often remain in the festival circuit, outside the mainstream of cinema distribution. Contemporary documentary cinema is currently one of the most interesting and fastest growing film genres. Documentary films, which were included in the ranking, characterize the form's innovation, bringing them closer to the border between the document and the experimental cinema. During the course, the issue of creation in the documentary film and the perspective from which the narrative is carried out will be addressed, with the use of which means of expression persuasive transmission of documents is built. An important issue of the proposed activities will be the issue of editing as a process of organizing film expression. Classes are aimed at increasing the awareness of the impact of film avant-garde traditions on the forms of expression present in the contemporary film, in particular in the documentary film, building the competence to perceive contemporary art. The series of the lectures and screenings is the first part of the avant-garde film program, consisting of two semester cycles that covers issues of the history of avant-garde film – from the 1920s to the newest times. 1. 11.10.2022 (wtorek), godz. 17.00-20.00 Reżyserki Wielkiej Awangardy i ich twórczość we współczesnym filmie dokumentalnym Prowadząca zajęcia: prof. dr hab. Małgorzata Radkiewicz „Muszelka i pastor” (“La Coquille et le clergyman”) Germaine Dulac, 1927, 36 min ”Kochać Innego” (“Love Other: The Story of Claude Cahun and Marcel Moore”), reż. Barbara Hammer, 2006, 55 min 2. 18.10.2022 (wtorek), godz. 17.00-20.00 Kino Wielkiej Awangardy – film dadaistyczny i surrealistyczny Prowadzący zajęcia: prof. dr hab. Marcin Giżycki Filmy zaprezentowane w bloku: „Balet mechaniczny” (“Ballet mécanique”) Fernanda Légera, 1924, 17’ „Antrakt” (“Entr'acte”) René Claira, 1924, 24’ „Pies andaluzyjski” (“Un chien andalou”) Luisa Buñuela i Salvadora Dali’ego, 1929, 16’, „Złoty wiek” (“L'âge d’or”) Luisa Buñuela, 1930, 64’ 3. 25.10.2022 (wtorek), godz. 17.00-20.00 Polska awangarda filmowa od lat 20. do lat 60. – pionierskie realizacje polskiego filmu awangardowego Prowadzący zajęcia: prof. dr hab. Marcin Giżycki Filmy zaprezentowane w bloku: „Europa” Franciszki Themerson i Stefana Themersona, 1931–1932, 12 min „Przygoda człowieka poczciwego” Franciszki Themerson i Stefana Themersona, 1937, 8 min „Apteka” Bruce’a Checefsky’ego, 2001, 5 min „Drobiazg melodyjny” Bruce’a Checefsky’ego, 2006, 6 min „Mieczysław Szczuka - 5 momentów filmu abstrakcyjnego” Marcina Giżyckiego, 2006, 2 min „Henryk Berlewi – Kinefaktura” Marcina Giżyckiego, 2012, 3 min „Był sobie raz…” Waleriana Borowczyka, Jana Lenicy, 1957, 9 min „Dom” Waleriana Borowczyka, Jana Lenicy, 1957, 11 min „Sztandar Młodych” Waleriana Borowczyka, Jana Lenicy, 1957, 2 min. 4. Cinema of Maya Deren as a precursor of the American avant-garde film and her continuators Date: 8.11.2022 Lecturer: prof. dr hab. Małgorzata Radkiewicz “Meshes of the Afternoon” by Maya Deren i Alexander Hammid, 1943, 14 min. “Ritual in Transfigured Time” by Maya Deren, 1946, 14 min. “Meditation on Violence” by Maya Deren, 1948, 10 min. "Lives of Performers" by Yvonne Rainer, 1972, 90 min. 5. Film diary, everyday life, autobiography, documentality of subjectivity in the American avant-garde of the 1960s. Works of Marie Menken, Jonasa Mekasa, Wallace’a Bermana Date: 15.11.2022 Lecturer: dr Marcin Borchardt “Glimpse of the Garden” by Marie Menken, 1957, 4 min. “Notebook” by Marie Menken, 1962-1963, 10 min. “Go! Go! Go!” by Marie Menken, 1962-1964, 11 min. „Out-Takes from the Life of Happy Man” by Jonasa Mekasa, 2012, 68 min. “Aleph”, Wallace Berman, 1965-1966, 8 min. 6. Queer expression of the American film avant-garde Date: 22.11.2022 Lecturer: Karol Radziszewski “Fireworks” by Kenneth Anger, 1947, 20 min. “Kiss, Empire, Blow job, Chelsea Girls” by Andy Worhol [fragments] “Dyketactics” by Barbara Hammer 1973, 4 min. “Beautiful People” by David Wojnarowicz, 1987, 30 min. “Kisieland” by Karol Radziszewski, 2012, 30 min. 7. Own cinema, home movies / cinema amateur Date: 29.11.2022 Lecturer: Paulina Haratyk "Woda" by Witold Romer, Klub Filmowy Awangarda, 1937 „Regi Poloniae” by Jan i Danuta Maćkow, Stanisław Fischer, AKF Śląsk, 1957 „Tramwaj do nieba” by Wincenty Ronisz, Krzysztof Zanussi, AKF Warszawa, 1958 „Dwaj ludzie z szafą” by Roman Polański, Polska 1958 „Współczesna symfonia” by Maciej Korus, Jerzy Ridan, AKF Nowa Huta, Polska 1971 „Manifestacja” by Jan Piechura, AKF Sawa, Polska 1973 „Fragment biografii” by Janina Matejuk, Polska 1983 8. Visual pleasure. The anti-narrative polemic of Laura Mulvey and Peter Wollen Date: 6.12.2022 Lecturer: prof. dr hab. Małgorzata Radkiewicz "Riddles of the Sphinx" by Laura Mulvey, Peter Wollen, 1977, 92 min. “Frida Kahlo & Tina Modotti” by Laura Mulvey, Peter Wollen, 1982, 30 min. 9. Postcolonial reflections on identity and its images in the works of Trinh T. Minh-ha and Julie Dash Date: 13.12.2022 Lecturer: prof. dr hab. Małgorzata Radkiewicz “Surname Viet Given Name Nam” by Trinh T. Minh-ha, 1989, 108 min. "Illusions" by Julie Dash, 1983, 34 min. 10. Women towards the Other. Alexander Juhasz's theory and activist activities for the queer community and queer visual archives Date: 20.12.2022 Lecturer: prof. dr hab. Małgorzata Radkiewicz "The Watermelon Woman" by Cheryl Dunye, 1996, 90 min. 11. The work of Joseph Beuys and his contemporary image in a documentary film Date: 10.01.2023 Lecturer: Sebastian Cichocki “Beuys” by Andres Veiel, Niemcy 2017, 107 min. 12. Found footage as a technique of avant-garde realizations in contemporary documentary cinema Date: 17.01.20223 Lecturer: dr Gabriela Sitek “Dawson City: Frozen Time” by Bill Morrison, USA, 2017, 120 min. 13. Written test 31.01.2023
Bibliography:	Basic reading: 1. „Historie filmu awangardowego”, ed. Ł. Ronduda, G. Sitek, Fundacja Okonakino, Muzeum Sztuki Nowoczesnej w Warszawie, korporacja ha!art, Warszawa-Kraków 2020 2. A. Pitrus, „Film awangardowy w latach 1930–1959”, in: „Kino klasyczne. Historia kina”, Towarzystwo Autorów i Wydawców Prac Naukowych UNIVERSITAS, vol. 2, ed. T. Lubelski, I. Sowińska, R. Syska, Kraków 2011, pp. 549-66 3. A. Pitrus, „Film awangardowy w latach 1960-1980”, in: „Kino epoki nowofalowej. Historia kina”, vol. 3, ed. T. Lubelski, I. Sowińska, R. Syska, Towarzystwo Autorów i Wydawców Prac Naukowych UNIVERSITAS, Kraków 2015, pp. 659-685 4. A. Pitrus, „Film awangardowy i sztuka wideo końca wieku”, in: „Kino końca wieku. Historia kina”, vol. 4., ed. T. Lubelski, I. Sowińska, R. Syska, Towarzystwo Autorów i Wydawców Prac Naukowych UNIVERSITAS, Kraków 2019, pp. 867-899 5. P. A. Sitney, „Visionary Film: The American Avant-Garde 1943-2000”, Oxford University Press, New York 2002 Recommended reading: 6. M. Przylipiak, „Poetyka kina dokumentalnego”, Wydawnictwo Uniwersytetu Gdańskiego, Wydawnictwo Pomorskiej Akademii Pedagogicznej w Słupsku, Gdańsk-Słupsk 2004 7. M. Radkiewicz, „»Władczynie spojrzenia«. Teoria filmu a praktyka reżyserek i artystek”, korporacja ha!art, Kraków 2010 8. „Wideo w sztukach wizualnych”, ed. R. W. Kluszczyńskiego, T. Załuskiego, Wydawnictwo Uniwersytetu Łódzkiego, Galeria Labirynt, Łódź-Lublin 2018 9. „Reżyserki kina. Tradycja i współczesność”, ed. M. Radkiewicz, Rabid, Kraków 2005 10. M. Podsiadło, „Autobiografizm filmowy jako ślad podmiotowej egzystencji”, Towarzystwo Autorów i Wydawców Prac Naukowych UNIVERSITAS, Kraków 2013 11. L. Mulvey, "Do utraty wzroku. Wybór tekstów", ed. Kamila Kuc, Lara Thompson, korporacja ha!art, Era Nowe Horyzonty, Kraków-Warszawa 2010
Learning outcomes:	- Student knows the most important artists and the most outstanding works of contemporary avant-garde cinema and theoretical ideas of avant-garde cinema, - Student knows the most important trends, phenomena and authors of the history of avant-garde cinema and their relationship with the art of documentary film, - Student knows how social and historical issues correspond to avant-garde films, - Student knows the historical and socio-cultural context of contemporary documentary cinema and the most frequently discussed issues of specific films, - Student understands the functioning and meaning of video and avant-garde films in various cultural contexts and is able to use the analytical tools in independent broadening of knowledge in the field of contemporary art exhibited in Warsaw galleries Skills: - Student is able to analyze avant-garde films in terms of the formal and aesthetic conditions, - Student is able to independently analyze avant-garde films and video art in a broader historical and sociological context, - Student can use avant-garde films in scientific work, eg as a source for historical and sociological research, - Student can indicate the differences and similarities between the language of avant-garde and feature films
Assessment methods and assessment criteria:	Methods of assessing work of student: 1. Continuous assessment: ongoing preparation for classes and activity (10/100) 2. Final written test (70/100) Student has to write final test, which will be organize at the last meeting of the classes. 3. Control of the presence (20/100) A presence on more than half of the classes is required. Two absences are allowed. In the case of each subsequent absence student is required to write a review or essay (on a previously agreed topic with the coordinator) about the selected film, on which projection was the participant of the class. Volume: up to 3000 characters. Deadline for sending by the last classes to coordinator (g.sitek@uw.edu.pl).

This course is not currently offered.

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