DATZ202 Chapters language audiovisual works

Theatre Faculty
Winter 2026
Extent and Intensity
0/2/2. 2 credit(s). Type of Completion: z (credit).
Teacher(s)
doc. Mgr. Pavel Jirásek, Ph.D. (lecturer)
Guaranteed by
doc. Mgr. Petr Francán
Audiovisual Media and Theatre Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Supplier department: Audiovisual Media and Theatre Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Prerequisites
The elementary prerequisite is a completed secondary education, preferably in the audiovisual field. The student must demonstrate developed talent and independence in co-creating the study program and artistic abilities leading to original audiovisual creation.
Course Enrolment Limitations
The course is only offered to the students of the study fields the course is directly associated with.
fields of study / plans the course is directly associated with
Course objectives
Course objectives: • to learn the basics of audiovisual language in historical contexts, from the emergence of film language, through the establishment of its rules, to the contemporary stratification in specific film genres • to learn and understand technological and technical means for capturing sound and image • to learn the rules of film image - the concept of creating individual shots, image composition, light, the specifics of the audiovisual language of various media, the rules of editing and sound composition • to learn the process of creating a script, the development of a script from the literary form of a film story to a technical script in connection with the realization process • to create your own film image exercises based on the acquired theoretical and analytical knowledge The student is able to: • create a multimedia structured work of audiovisual integrated into live dramatic art, musical art (e.g. theatrical audiovisual, live conceptual audiovisual, audiovisual of the character of performative art) • orientate themselves and create television formats of theatrical journalism, theatrical documentary, television recordings of theatrical performances up to two-way adaptations, including adaptations of "theater in film - film in theater" • independent artistic creation, artistic performance including critical reflection and self-reflection, is able to define a complex practical or theoretical problem and solve it in a creative way using selected theories, methods, procedures and forms of the field • create an original, publicly presentable authorial work of art, or an adaptation with elements of audiovisual theater and other forms of performative art • not only to conceive one's own artistic performance, but also to lead the group in the process of artistic creation, flexibly adapting the dramaturgical-directorial concept, technological solution, implementation including production and post-production to the possibilities, conditions, artistic intention, and the specific situation • to bear the consequences of one's own artistic creation from social, through economic to social and copyright • to present an original artistic performance of one's own or the entire team in public, including at an international forum, and is prepared to bear full responsibility for the work of the group
Learning outcomes
Students will gain knowledge about the basics and the development of audiovisual speech, painting theory, the effects of various arts film shot on the concept, meaning light, the meaning of the sound component and timing of the internal structure of a work of art. Get acquainted with the technological and technical means for capturing sound and image, while the process of creating scenarios, scenario development of literary forms cinematic stories to technical scenario.
Syllabus
1. The beginnings of the development of film language Meliés, Griffith, the emergence and development of classical film language... 2. Film language of neorealism, Neorealism as a raw presentation of reality, which is in no way colored and leaves nothing out. 3. Film language of the French and Czech “new wave”, new methods of stylistic expression. 4. From the subject to the script. Screenwriter, plot, film story, treatment, literary script, dramaturgy, story, artistic imagery, film language, aestheticization, acting action, technical script, shot, storyboard... 5. Audiovisual work and visual culture of today. Issues of audiovisual culture, audiovisual work, media, medium as extension, medium as message, information, reality and information, media and power, “imagologists”, interpretation of mass communication, work of art in the age of technical reproducibility. 6. Problems of television recording of theatre Typology of TV recording of theatre, problems of recording with and without an audience, contactability of theatre, positive possibilities of recording, technological conditions of theatre recording, concept of recording method, choice of shooting (complex, sequential), preparation of the script, technical script, lighting, number and placement of cameras, additional shots, specifics of video and sound editing, graphic elements, post-production and adjustment. 7. Document and its classification Definition of document, conventions, periods, movements and fashions, ethics of document, narrative properties – document voice, document communication – captivating, persuasive, classification, fiction – non-fiction, non-fiction models, poetic fashions. 8. Shot – basic compositional element technical, working, compositional, formed by capturing objects, environment, light, sounds, phenomena, events determined by technical means – technology, capturing elements, lens, format, light sources, color temperature, tonality, components of the shot, … composition – golden ratio, laws of symmetry, diagonals, intersections, spirals, use of lines, balance created by size, shape, tonality, dynamic composition, movement in composition, styles of composition,… composition – use of properties of lenses and light sources, color tones, depth of field, optical properties of lenses, correction and effect filters... 9. Sound - a basic compositional element from sound dramaturgy to sound composition, types of sound in an audiovisual work (spoken word, music, noises), the mutual position of image and sound, the concept of the sound composition of an audiovisual work (the formative role of sound, sound atmosphere, film silence, sound plans), musical, noise dramaturgy and the degree of stylization, synthesis of sound as a compositional element - speech, noises, music, atmospheres, vertical perception of the lines of the soundtrack, synchronous, postsynchronous and asynchronous, blending of sound and image planes, acoustic effects, processing of sound recording (mixing) and finishing work (finalization) 10. Editing composition, linking shots: rule of continuity – linking static shots, editing in motion, editing at a dead point, editing with dynamic exposure, orientation – rule of axis, rule of main direction,… rhythm – length of shots, curve of shot maturation,… real time, cinematic, dramatic, subjective time,… cut. Broader compositional units: relationship shot, scene, sequence, dramaturgical composition – linear, parallel (synchronous, retrospective), associative composition (by analogy, by contrast, by polyphony, composition of a characteristic motif), rapid montage,…synthesis of image and sound, new space, dynamics of vertical and horizontal connections, compositional punctuation,…binding of sequences – with respect to their content, similarity or identity (by analogy), based on associations,… types of sequences – introductory, expositional, action, descriptive, explanatory, condensed, final, titles,…stylistic forms – escalation, repetition, refrain, ellipsis, prolongation of tension, litotes, antithesis, metonymy, synecdoche, euphemism, metaphor, symbol, allegory,… 11. Movement, image, sound as the basis of audiovisuals, theoretical explanations, dispositif and its relationship to image,...use of the physiology of human sensory perception in audio and video technologies, current knowledge,..
Literature
  • Aumont, Jacques. Obraz. 1. vyd. V Praze : Akademie múzických umění v Praze, 2005. 325 s. ISBN 80-7331-045-7. info. info
  • Kristin Thompsonová , David Bordwell : Dějiny filmu. NAMU 2014 – ISBN 978-80-7331-207-7, vydala Nakladatelství Akademie múzických umění a Nakladatelství Lidové noviny, Praha 2011, 2. revidované vydání – první dotisk, 840 stran,
  • Kautský, Oldřich. Italský filmový neorealismus. 1. vyd. Orbis, 1958.
  • .Ejzneštejn Sergej: Paměti. info
  • Chaplin Charles: Můj životopis. info
  • Truffaut Francois: Rozhovory s Hitchcockem. info
  • Bergman Ingmar: Laterna magika. info
  • Wajda Andrzej: Moje filmy. info
  • Jasný Vojtěch: Život a film. info
  • Vávra Otakar: Zamyšlení režiséra. info
  • Tarkovskij Andrej: Deník 1970 - 1986. info
  • Solmi Angelo: Federico Fellini. info
  • Buňuel Luis: Až do posledního dechu. info
  • Svatopluk Malý: Skripta FAMU (1989)- Lékařská kinematografie, rentgenkinematografie. info
  • Mihálik Peter: Kapitoly z filmovej teórie, Tatran 1983. info
  • Bernard Jan: Jazyk, kinematografie, komunikace, NFA 1995. info
  • Gromov Jevgenij: Osud umělce (Filmová avantgarda a Lev Kulešov). ČFÚ, Praha 1990. info
  • Šklovskij Viktor: Nekonečné záhady (Úvahy o teoretickém zobecnění filmové praxe). ČFÚ, Praha 1990. info
  • Kulešov Lev: Základy filmové režie. skripta FAMU, SPN, Praha 1974. info
  • Valušiak Josef: Základy střihové skladby. skripta FAMU. info
  • Karel Reisz: Umění filmové skladby. skripta FAMU. info
  • Kučera Jan: Alexandr Dovženko básník revoluce. ČFÚ, Praha 1971. info
  • Pudovkin Vsevolod: Film, scenár, réžia, herec. Tatran, Bratislava 1982. info
  • A Marjamov, Vsevolod Pudovkin: Čs. Státní film, Praha 1955. info
  • Ejzenštejn Sergej M.: Kamerou, tužkou i perem. Orbis, Praha 1959. info
  • Balász Bela: Film, vývoj a podstata nového umenia. SVKL, Bratislava 1957. info
  • Lindgren Ernest: Filmové umění. ÚPF, Praha 1961. info
  • Plažewski, Jerzy: Filmová řeč, 1967, Orbis, Praha. info
  • Jiřík, Vlastimil: Kinematografický obraz I. a II. info
  • Hames, Peter: Československá nová vlna, KM 2008.
  • Pavlovský, Petr: TV záznam divadelního představení. In: Acta Universitatis Palackianae Olomucensis Facultas philosophica, P – A 18-1999
  • Field, Syd. Jak napsat dobrý scénář. Rybka, Praha, 2007.
  • Nichols, Bill: Úvod do dokumentárního filmu, AMU Praha 2010
  • Gauthier, Guy: Dokumentární film, jiná kinematografie, 2004.
  • Barnouw, Erik. Documentary: A History of the Non-Fiction Film, 2nd rev. ed. New York: Oxford University Press, 1993.
  • Valušiak, Josef: Základy střihové skladby. NAMU 2017.
  • Epstein, Jean: Poetika obrazů. Herrmann & synové, Praha 1997.
  • Deleuze, Gilles: Film 1 a 2 - Obraz čas, Praha 2006.
  • Mary Angiolillo, Pavel Jech Scénář na sedm minut, NAMU 2021.
  • Linda Aronsonová Scénář pro 21. století, NAMU 2024.
Teaching methods (in Czech)
Formy výuky:
- přednáška
- seminář
- projekt

Metody výuky:
- přednáška s diskusí
- práce s textem
- diskuze
- práce s audiovizuálním médiem
- projektová výuka
- e-learning
- individuální konzultace
- samostudium studentů
- samostudium literatury
- seminář

* Počet hodin kontaktní výuky týdně: 2
* Počet hodin samostatné práce studenta týdně: 2
Assessment methods (in Czech)
* Zimní semestr

Zápočet na základě docházky
Zápočet na základě klauzury
Zápočet na základě písemné práce/referátu

* Letní semestr

Písemná zkouška
Ústní zkouška
Language of instruction
Czech
Follow-Up Courses
The course is also listed under the following terms Winter 2015, Winter 2016, Winter 2017, Winter 2018, Winter 2019, Winter 2020, Winter 2021, Winter 2022, Winter 2023, Winter 2024, Winter 2025.
  • Enrolment Statistics (Winter 2026, recent)
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