|
Lecturer(s)
|
|
|
|
Course content
|
1. Methodological introduction and definition of discourse Introduction to the concept of the subject. Mapping the terrain of contemporary audiovisual: terminology, research methodology, and overview of key directions for semester analysis. 2. Theoretical background: Phenomenology and semiotics in AV Application of phenomenological reduction to the perception of image and sound. Semiotic analysis of the audiovisual sign. The relationship between the signifier and the signified in the moving image. 3. Aesthetics of the spectacle and mass culture of the late 20th century Analysis of pop culture phenomena through the lens of media theory. Television formats, such as "Wrestling" (WWE), as a performative narrative, MTV aesthetics, and the clip-like nature of reality perception. 4. Czech audiovisual in the transformation period A comparative analysis of the production environment before 1989 and after the Velvet Revolution. The impact of the democratization of technology and the privatization of media on authorial work and aesthetic norms. 5. Post-digital condition and posthumanism Technological extension of man. The Impact of Digital Interfaces on Cognitive Processes. Exploring the boundaries between the biological and technological body in contemporary video art and film. 6. Remediation: From classical film to network platforms Transition from linear narratives to database logic. Specifics of creation for the 3rd decade of the 21st century (TikTok, YouTube, VR). Authorship in the era of algorithmic curatorial practice. 7. Auditory turn: Phenomenology of sound and Sound Design Sound is an autonomous bearer of meaning. Analysis of acoustic listening and "soundscape". Methodology of sound design: technical realization vs. psychology of spatial perception. 8. Technology as a tool for translating reality The issue of representation. How technical apparatus (camera, microphone, sensor) shapes and distorts the captured reality. Objectivity vs. subjectivity of the recording. 9. Technological chains: From DIY to High-End production Analysis of production workflows. Aesthetic consequences of the choice of technology (glitch art, lo-fi vs. 4K/8K standards). The influence of "self-made" approaches on the democratization of the medium. 10. Critical analysis of contemporary work Seminar analysis of selected works (case studies). Deconstruction of narrative and visual strategies in current cinematography, video art, and new media. 11. Futurism in audiovisual: Ethics and synthetic media Challenges for the coming decade: Generative AI, Deepfakes, and automation of creativity. Ethical and legal aspects of authorship in the age of machine learning. 12. Synthesis of discourse and future horizons A comprehensive recapitulation of the topics covered (from phenomenology to post-digital). Identification of key challenges and emerging paradigms in audiovisual. Motivation to proactively monitor technological trends. Discussion of the role of the creator in the constantly changing media ecosystem. 13. Presentation: Final synthesis and evaluation Presentation of student projects and theoretical research, expert discussion of individual outputs. Final evaluation.
|
|
Learning activities and teaching methods
|
Multimedia supported teaching, Students' portfolio, One-to-One tutorial, Skills demonstration, Task-based study method, Individual study, Lecture with visual aids, Practicum
- unspecified
- 10 hours per semester
- Presentation preparation (report) (1-10)
- 15 hours per semester
- Undergraduate study programme term essay (20-40)
- 35 hours per semester
- Contact hours
- 39 hours per semester
|
| prerequisite |
|---|
| Knowledge |
|---|
| to provide basic knowledge of technical and technological procedures of drawing and drawing of free visualization and graphic editors to compare and analyze different artistic expressions by criteria of esthetics, semiotics and technique on basic level to reproduce knowledge about visual means suitable for animated creation to specify basic knowledge of supporting arts disciplines and their techniques and technologies |
| Skills |
|---|
| to be able to work with basic graphic editors and animation programs, to design visual graphics metaphors with erudition on options of animation in a few steps to describe the story through means of artistic expression to work independently and flexibly react to evaluating commentary of the teacher to show own creativity on generally assigned task, to show the will to find different artistic solutions, alter them and constructivelly evaluate |
| Competences |
|---|
| N/A |
| N/A |
| N/A |
| learning outcomes |
|---|
| Knowledge |
|---|
| Has an overview of key theoretical concepts influencing contemporary audiovisual (phenomenology, semiotics, posthumanism). Understands the relationship between the technical means (hardware/software) and the semantic layer of the work (content/message). |
| Skills |
|---|
| Can critically analyze audiovisual works in the context of technological determinism and the historical development of the medium. Can formulate and defend his/her own authorial position through a professional presentation that reflects the material discussed and applies it to a specific artistic or theoretical problem. |
| Competences |
|---|
| N/A |
| N/A |
| N/A |
| teaching methods |
|---|
| Knowledge |
|---|
| Lecture with visual aids |
| Multimedia supported teaching |
| Task-based study method |
| One-to-One tutorial |
| Skills |
|---|
| Skills demonstration |
| Individual study |
| Students' portfolio |
| Competences |
|---|
| Seminar |
| Discussion |
| Students' portfolio |
| assessment methods |
|---|
| Knowledge |
|---|
| Seminar work |
| Individual presentation at a seminar |
| Continuous assessment |
| Skills |
|---|
| Skills demonstration during practicum |
| Individual presentation at a seminar |
| Competences |
|---|
| Seminar work |
|
Recommended literature
|
-
NICHOLS, Bill. Úvod do dokumentárního filmu. Praha: AMU, 2010. ISBN 978-80-7331-181-0.
|