DRTZ203 Kapitoly z dějin světového filmu III

Theatre Faculty
Winter 2026
Extent and Intensity
2/0/2. 2 credit(s). Type of Completion: zk (examination).
Teacher(s)
MgA. Bc. Petr Kobzev (lecturer)
Guaranteed by
PhDr. Pavel Aujezdský
Radio and TV Dramaturgy and Scriptwriting Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Supplier department: Radio and TV Dramaturgy and Scriptwriting Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Timetable
Mon 12:00–13:30 104
Prerequisites
The lecture provides a basic overview of the development of European cinema and an understanding of the evolution of cinematic tools, language, and aesthetic sensibilities. Successful completion of the preceding part of the course is recommended but not required.
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

The course aims to introduce significant European cinemas of the post-World War II era: Great Britain and Free Cinema, Germany’s grappling with trauma, Italian neorealism and post-neorealism, the French New Wave, and the cinema of Poland, Hungary, Romania, Yugoslavia, and Greece. It is not merely a historical overview, but rather a selection of exceptional filmmakers, films, and aesthetic approaches for capturing the surrounding reality.

Learning outcomes

The World War, the subsequent polarization, and ideological regimes have profoundly shaped—and continue to shape—the European continent. Students will find inspiration for their own creative work and gain an understanding of how nations and individual artists grappled with the deep-seated historical traumas of war and political oppression, transforming those experiences into their art. They will come to realize that originality is not mere eccentricity, but rather a natural state of living under certain conditions. Students will learn to discern traces of the past in films, thereby deepening their ability to interpret and encode cinematic works.

Syllabus (in Czech)
  • Italský neorealismus a postneorealismus - Roberto Rosselliini: Řím, otevřené město; Paisa; Německo v roce nula. Vittorio De Sica: Zloději kol, Umberto D. Luchino Visconti: Země se chvěje, Gepard, Smrt v Benátkách. Federico Fellini: Silnice, Amarcord. Michelangelo Antonioni: Noc, Zvětšenina. Pier Paolo Pasolini: Evangelium sv. Matouše. Bernardo Bertolucci: Konformista. Ermano Olmi: Strom na dřeváky.
  • Britský poválečný film, Rank Organization. Filmové adaptace anglické klasiky, reflexe války, komedie. L.Olivier, D.Lean, C.Reed aj. C.Frend. Free cinema (Rozhněvaní mladí muži) - K.Reisz, T.Richardson, L.Anderson aj. Američané ve Velké Británii - J.Losey, S.Kubrick, R.Lester.
  • Francouzská nová vlna - Cahiers du cinéma - Jean-Luc Godard: U konce s dechem, Bláznivý Petříček. Francois Truffaut: Nikdo mě nemá rád, Střílejte na pianistu. Claude Chabrol: Bratranci. Éric Rohmer: Moje noc s Maud. Alain Resnais: Hirošima, má láska; Loni v Marienbadu. Agnes Varda: Cléo od pěti do sedmi. Chris Marker: Rampa.
  • Nový německý film - Rainer Werner Fassbinder: Strach jíst duši, Hořké slzy Petry von Kantové. Werner Herzog: Aguirre, hněv Boží; Fitzcarraldo; Lekce temnoty. Wim Wenders: Nebe nad Berlínem. Volker Schlöndorff: Plechový bubínek. Tom Tykwer: Lola běží o život. Thomas Jahn: Klepání na nebeskou bránu.
  • Polský film - Andrzej Wajda: Popel a Démanty, Kanály. Andrzej Munk: Eroica. Krzysztof Kieślowski: Amatér, trilogie barev. Krzysztof Zanussi: Ochranné zbarvení. Andrzej Žulawski: Třetí část noci. Agnieszka Holland: Evropa, Evropa. Pawel Pawlikovski: Studená válka. Jan Matuszyński: Poslední rodina.
  • Maďarský film - Miklós Jancsó: Beznadějní; Hvězdy na čepicích. István Szabó: Mefisto. Béla Tarr: Satanské tango, Turínský kůň. László Nemes: Saulův syn. Ildykó Enyedi: O těle a duši. Gyula Nemes: Rodinné štěstí, Ztracený svět.
  • Jugoslávský film - Dušan Makavejev: Milostný příběh. Emir Kusturica: Underground; Černá kočka, bílý kocour. Slobodan Šijan: Kdo to tam zpívá. Veljko Bulajič: Bitva na Neretvě. Aleksandar Petrovič: Brzy bude konec světa. 
  • Rumunský film - Cristi Puiu: Smrt pana Lazaresca. Cristian Mungiu: 4 měsíce, 3 týdny a dva dny. Corneliu Porumboiu: 12:08 Na východ od Bukurešti. Radu Jude: Smolný pich aneb pitomý porno.
  •  Řecká nová podivná vlna - Jorgos Lanthimos: Špičák, Alpy.  Athina Rachel Tsangari: Attenberg.  Babis Makridis: Lítost. Alexandros Avranas: Miss Violence.
Literature
    required literature
  • PŁAŻEWSKI, Jerzy. Dějiny filmu: 1895-2005. Vyd. 1. Praha: Academia, 2009, 901 pp. ISBN 978-80-200-1689-8. info
  • Kristin THOMPSONOVÁ ad.: Dějiny filmu. NLN 2007. info
    recommended literature
  • TAYLOR, B.F.: The British New Wave: A Certain Tendency? Manchester 2006.
  • WENDERS, Wim. Dech andělů: výbor z kritik, esejů a rozhovorů. Překlad Milan Doinel a Ladislav Šenkyřík. Praha: Aurora, 1996. 237 s. ISBN 80-85974-11-8.
  • BROCKMANN, Stephen. A Critical History of German Film. Rochester, NY: Camden House, 2010. 522 s. ISBN 978-1-57113-468-4.
  • COUSINS, Mark. Příběh filmu: Odysea [televizní seriál]. Režie Mark COUSINS. Velká Británie: Network Ireland Television, 2011.
  • BAZIN, André. What is Cinema? Vol. 1. Vybral a přeložil Hugh Gray. Berkeley: University of California Press, 2004. ISBN 9780520242272
  • BAZIN, André. What is Cinema? Vol. 2. Přeložil Hugh GRAY. Berkeley: University of California Press, 2005. ISBN 978-0-520-24228-9.
  • BONDANELLA, Peter. Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum, 2001. 546 s. ISBN 0-8264-1247-5.
  • NEUPERT, Richard. A History of the French New Wave Cinema. 2. vyd. Madison: University of Wisconsin Press, 2007. Wisconsin studies in film. ISBN 978-0-299-21704-4.
  • GOULDING, Daniel J. Liberated Cinema: The Yugoslav Experience, 1945–2001. Revised and expanded edition. Bloomington: Indiana University Press, 2002. ISBN 9780253215826.
  • LUBELSKI, Tadeusz. Dějiny polské kinematografie. Přeložily Martina Bořilová, Markéta Fucimanová a Tereza Vlachová. Praha: Nakladatelství AMU, 2025. 930 s. ISBN 978-80-7331-672-3.
  • NASTA, Dominique. Contemporary Romanian Cinema: The History of an Unexpected Miracle. London: Wallflower Press, 2013. 256 s. ISBN 978-0-231-16745-1.
  • PAPANIKOLAOU, Dimitris. Greek Weird Wave: A Cinema of Biopolitics. Edinburgh: Edinburgh University Press, 2021. ISBN 978-1474436328.
  • KOSMIDOU, Eleftheria Rania. Framing the Films by Yorgos Lanthimos: The Weird in Contemporary Greek Cinema, Brecht and the Uncanny. London: Bloomsbury Academic, 2026. ISBN 9781350269415.
  • BURNS, Bryan. A History of the Hungarian Cinema. New York: Dover Publications, 1996. ISBN 978-0198158615.
Teaching methods
An interactive lecture featuring film clips. It covers dramaturgical analysis, multimedia inspiration, discussion methods, and a comparison of the impact and cinematic language of films from different eras and countries. The focus is on techniques related to screenwriting, cinematography, and editing, as well as the exploration of mutual inspiration across various media (film, theater, painting, etc.).
Assessment methods
Oral exam: random selection of a thematic area for the student to discuss + a list of required films (20–25) that the student must watch, and a discussion of them during the exam.
Language of instruction
Czech
The course is also listed under the following terms Winter 2019, Winter 2020, Winter 2021, Winter 2022, Winter 2023, Winter 2024, Winter 2025.
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