Academy of Avant-garde Film 2nd
General data
Course ID: | 3002-AFAA19-OG |
Erasmus code / ISCED: |
14.7
|
Course title: | Academy of Avant-garde Film 2nd |
Name in Polish: | Akademia filmu awangardowego 2 |
Organizational unit: | Institute of Polish Culture |
Course groups: |
General university courses General university courses in the humanities |
ECTS credit allocation (and other scores): |
(not available)
|
Language: | Polish |
Type of course: | elective courses |
Prerequisites (description): | The student should be familiar with a wide range of issues related to history and history of culture, social sciences. She/He should have basic knowledge of film art - both feature film and documentary film, contemporary art. The student 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. |
Mode: | Classroom |
Short description: |
Lecture classes combined with film screening, during which students get acquainted with films of the main trends of the film avant-garde, which formed the history of cinema, and had a decisive influence on art history - from the 60s to the 90s, shaping the understanding of current artistic realizations from both the field of cinema as well as contemporary art. Classes deal comprehensively with the tradition of avant- garde cinema and point out contemporary documentary film productions, whose authors use the film language developed on the basis of avant-garde, emphasizing the referral of these film forms to social issues, forms of art circulation and conditions related to its production. The condition for participation in classes is to purchase a pass. The cost of the pass is: PLN 100. Classes begin on March 5th 2020 Contact: gabriela.sitek@gmail.com |
Full description: |
Among the topics discussed during the classes is the canon of world cinema history: works of the French director Chris Marker (La jeteé 1962; Sans soleil 1982), the achievements of the Austrian avant-garde, shown on the example of the works of Peter Kubelka (including Mosaik im Vertrauen 1955; Adebar 1957) and VALIE EXPORT (Adjunct Dislocations 1973). An important topic discussed during the classes will be Letterist International, The Situationist International (La société du spectacle by Guy Debords, 1973). The issue of film menippea in the works Hollis Frampton (Hapax Legomena I: Nostalgia 1971, Hapax Legomena III: Critical Mass 1971) will be presented. Participants will learn about the work of the Film Form Workshop (1970-1977) established at the Lodz Film School, the most important structural film formation in Central and Eastern Europe. The works of artists Wojciech Bruszewski, Zbigniew Rybczyński, Józef Robakowski, Paweł Kwiek, as well as Kazimierz Bendkowski, Janusz Połom and Ryszard Waśko will be shown in the context of the group's inspiration with the Polish avant-garde – both film and artistic as well as interest in everyday life. Attention will be paid to the most important representatives of British cinema of the 1980s. The series of classes will cover the experimental period of Peter Greenaway's work (Intervals 1969; Windows 1974; Vertical Features Remake 1978) and its impact on feature production and "post-films" of the period of interest in the electronic of this director. The program includes films by Derek Jarman (Caravaggio 1986), debuting in the 70s, whose work developed fully in the 1980s and was also realized in the 90s. Participants of the classes get to know the works of Harun Farocki connected with the world art and documentary film. The program introduces the issues of dance fascination and the "choreographic" approach to film matter in the works of Yvonne Rainer and its impact on the works of Su Friedrich and Abigail Child. The works of these artists will be shown in the context of the avant-garde tradition set by Maya Deren. We will also look at the works of Polish authors of experimental cinema and video art of the 70s and 80s - incl. Natalia LL, Ewa Partum, Jolanta Marcolla, Jadwiga Singer, Iwona Lemke-Konart. An important issue will be international video art and Polish achievements in this field of the 70s, 80s and 90s, which will be approximated by the work of Bill Viola (The Passing, 1991). The history of the film avant-garde will be completed by introducing the concept of Cinema-Art and cinematographic turn in Polish contemporary art and related works by Katarzyna Kozyra, Anna and Wilhelm Sasnal, Łukasz Ronduda. During classes, the issue of common areas of contemporary art and documentary cinema will be discussed. 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 second 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. |
Bibliography: |
Basic reading: A. Pitrus, Film awangardowy w latach 1960-1980 in Kino epoki nowofalowej. Historia kina, vol. 3, ed. T. Lubelski, I. Sowińska, R. Syska, Kracow 2015, pp. 659-685 A. Pitrus, Film awangardowy i sztuka wideo końca XX wieku in Kino końca wieku. Historia kina, vol 4, ed. T. Lubelski, I. Sowińska, R. Syska, Kracow 2019, pp. 867-900 Ł. Ronduda, Sztuka polska lat 70. Awangarda, Warsaw 2009 P. A. Sitney, Visionary Film: The American Avant- Garde, 1943-2000, New York 2002 M. Przylipiak, Poetyka kina dokumentalnego, Gdansk 2000 A. Pitrus, Fundament pamięci – o „fotograficznej powieści” Chrisa Markera, „Kwartalnik Filmowy” 2006, no. 54-55, pp. 231-236 A. Pitrus, Su Friedrich: anektowanie przestrzeni in Reżyserki kina. Tradycja i współczesność, ed. M. Radkiewicz, Kracow 2005, pp. 11-20 U. Tes, Maya Deren wśród artystek awangardowych: Shirley Clarke i Yvonne Rainer in Reżyserki kina. Tradycja i współczesność, ed. M. Radkiewicz, Kracow 2005, pp. 179-192 B. Kosińska-Krippner, Awangarda austriacka. Peter Kubelka, „Kwartalnik Filmowy” no. 70, 2010, pp. 59- 82 Recommended reading: Warsztat formy filmowej, ed. M. Kuźmicz, Ł. Ronduda, Warsaw, Berlin 2017 Sztuka w kinie dokumentalnym, ed. Paulina Kwiatkowska, Matylda Szewczyk, Warsaw 2016 M. Radkiewicz, „Władczynie spojrzenia”. Teoria filmu a praktyka reżyserek i artystek, Kracow 2010 Kino-Sztuka. Zwrot kinematograficzny w polskiej sztuce współczesnej, ed. J. Majmurek, Ł. Ronduda, Warsaw 2015 Wideo w sztukach wizualnych, ed. R. W. Kluszczyński, T. Załuski, Lodz-Lublin 2018 |
Learning outcomes: |
- The student knows the most important artists and the most outstanding works of contemporary avant-garde cinema and its connection with a documentary film The student knows the most important trends, phenomena and creators in the history of avant-garde cinema and its relationship with the art of documentary film The student knows what social and historical issues correspond to avant-garde films and using means developed on the basis of avant-garde documentary films The student knows the historical and socio-cultural context of contemporary documentary cinema and the most frequently discussed issues in specific films The student knows, by means of which theoretical and analytical tools, to examine avant-garde film - both its global realizations and films made in Poland and referring to the native context The student understands the functioning and meaning of video and avant-garde films in various cultural contexts and is able to use the analytical tools assimilated in the classes in independent broadening of knowledge in the field of contemporary art exhibited in Warsaw galleries Skills: The student is able to analyze avant-garde films in terms of the formal and aesthetic solutions used in them The student is able to independently analyze avant-garde films and video art in a broader historical and social context The student can use avant-garde films in scientific work, eg as a source for historical and sociological research The student can indicate the differences and similarities between the language of avant-garde and feature cinema |
Assessment methods and assessment criteria: |
Methods of assessing the student's work (participation in the overall assessment of the student's work) 1. Continuous assessment: ongoing preparation for classes and activity (30/100) 2. Final written test 50/100 The condition for passing the classes out of presence will be passing the test regarding the presented films and topics covered during the lectures. 3. Control of the presence of 20/100 A presence on more than half of the classes is required. Two absences are allowed. In the case of each subsequent absence the in class participant 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: the last classes in the semester. |
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