The latvian academy of culture

BA STUDY PROGRAMME

THE HISTORY AND THEORY OF AUDIO-VISUAL CULTURE (AVC)
B

Compulsory (Choice Possible)	1	2	3	4	5	6	7	Hours together	Credit points	Lecturer
General Psychology		48:3 E						48	3	Lect.A.Miltuze
History of World Art: Music					48:3T	48:3E		96	6	Prof.P.Dambis
History of Latvian Art				32:2T	32:2 E			64	4	Lect.T.Suta, Ass.prof.M.Lapiņa
History of Latvia		64:4 E						64	4	Ass.Prof. J.Goldmanis
History of the Latvian Cinema				64:4 E				64	4	Ass.prof. A.Redovičs Lect. I.Pērkone
History of the Documentary Cinema					32:2 E			32	2	Lect.I.Pērkone Ass.prof. A. Redovičs
History of Animation						32:2E		32	2	Ass.prof. A.Redovičs Lect.I.Pērkone
Analysis of a Work of Art	32:2T	32:2E	32:2T	32:2E	32:2I	32:2E		192	12	Ass.prof. A.Redovičs Lect.I.Pērkone
Study of Colours						64:4E		64	4	Prof.K. Zalcmanis
Special Effects in the Cinema	32:2T							32	2	Ass.prof. J.Milbrets
Fundamentals of Film Production					64:4E			64	4	Prof.A. Epners
History of Photography	32:2T	32:2E						64	4	Lect.M.Kundziņš
History of Film Theories							32:2E	32	2	Lect.I.Pērkone Ass.Prof. A.Redovičs
Film and TV Drama							32:2T	32	2	Lect.L. Gundars
Archiving and Storage of Audio-visual Documents				32:2I				32	2	Lect.E.Smirnova, Lect.L.Auziņa
Fundamentals of the Culture of Language		48:3E						48	3	Lect.I.Lokmane
History of the Latvian Theatre			32:3E					32	3	Prof.J. Siliņš
The Theory of Litherature				64:3 E				64	3	Prof.G.Bībers
History of Latvian Literature	48:2T	48:2 E	48:2 T	48:2 E				192	8	Ass.Prof.R.Briedis, Lect.I.Tāle
Annual Paper				3		3			6
Bachelor’s Paper									10
Total									90
The Total Number of Credit Points together Parts A and B									170

THE HISTORY AND THEORY OF AUDIO-VISUAL CULTURE (AVC)

B

Choice	1	2	3	4	5	6	7	Hours together	Credit points	Lecturer
Camerawork			64:4T	64:4E				128	8	Prof.K. Zalcmanis
History and Theory of TV						32:2T	32:2E	64	4	Lect.Ģ.Nagainis
Set Design						32:2		32	2	Lect.I.Romānova
Total									14

BA STUDY PROGRAMME Part A

Description of the Study Course
The Name of the Course. World Film History: History of the Fiction Film
The Scope of the Course: 384 academic hours (322 hours of lectures, 62 hours of seminars). The form of assessment: a written test at the end of Terms 1 and 5 and an oral test at the end of Term 3, and examination at Terms 2, 4 and 6. 24 credit points.
The Author of the Course: Lecturer Inga Pērkone, Mg.artis
Preconditions for the Acquisition of the Course: Prior knowledge in the world history of culture. Proficiency in foreign languages.
The Scope of the Course: The course deals with the most important trends, films and the producers of the world fiction film. Special attention is paid to the creation stage of the cinema language: the history of the silent cinema.

Theme	Week	Types of classes and hours
1. The invention of the cinema. Preconditions of the invention. Inventors. The beginning of the film language. Development of film reception. Brothers Lumiere. The Brighton School.	1.,2.,3.,4.	L2;L2;L2;L2;L2;S2;L2;L2
2. The international expansion of the cinema. Films in Europe and in the US. 1905.—1912. George Melies. Denmark. Italy. Russia. Beginning of the film industry of the US.	5.,6.	L2;L2;L2;L2
3. Films in Europe and development of Hollywood classicism. 1913. – 1919. The cinema and World War I. The international film market. D.W. Griffith.	7.; 8.;9.	L2;L2;L2;S2;L2;L2
4. Trends of the German cinema. 1919.—1929. Expressionism, Kamerspiel, spectacles, New Objectivity. R. Wiene, F. Lang, F.W. Murnav, G.W. Pabst	10.;11.; 12.;13.;14.	L2;L2;L2;L2;L2;L2;S2;S2; L2;L2
5. The French cinema. 1919.—1929. Film theories. Impressionism. The cinema and modern art.	15.;16. 17.	L2;L2;L2;L2; L2;S2
6. The silent cinema in the USSR. The system of the Soviet cinema. Montage filmmakers. L. Kuleshov, S. Eisenstein, V.Pudovkin, A. Dovzhenko	18.;19.;20.;21.	L2;L2;L2;L2; L2;L2;S2;S2
7. Hollywood in the 1920s. Film style and technology. The studio system. Genres. Directors. Actors.	22.,23.;24.;25.;26.	L2;L2;L2;L2; L2;L2;L2;L2; S2;S2
8. The Scandinavian cinema. Films in Asia. The international trends in the cinema. 1920.—1929.	27.;28.	L2;L2;L2;L2
9. Studies and preservation of the Silent cinema.	29.	L2;L2
10. The development of the Sound Cinema. The development of film style and technology. Changes in the world film system.	30.;31.;32.	L2;L2;L2;L2;L2;S2
11. The Golden Age of Hollywood. The 1930s. The development of the film style and technology. The studio system. Genres. Filmmakers. F. Capra, J. Ford, W. Wailer, F. Lang.	33.;34.;35.;36.;37.;38.;39.;40.	L2;L2;L2;L2;L2;L2;L2;L2;L2;L2;L2;L2;L2;L2;S2;S2
12. The USSR in the 1930s. Socialistic realism and the cinema.	41.;42.;43.	L2;L2;L2;L2;L2;S2
13. Films in Germany before 1933. The German cinema under the Nazis.	44.	L2;L2
14. France. Poetic realism. J. Vigo, J. Renoir, M. Carné.	45.;46.;47.;48	L2;L2;L2;L2;L2;L2;S2;S2
15. The cinema in Great Britain. 1930.—1945. The British Period of Alfred Hitchcock. Film and World War II.	49.;50.	L2;L2;L2;L2
16. The cinema in other countries. 1930. – 1945. The development of the experimental cinema.	51.;52	L2;L2;L2;L2
17. The system of the world cinema after World War II. The development of film style and technology.	53.	L2;L2
18. Italian neo-realism.	54.;55.;56.	L2;L2;L2;L2;S2;S2
19. The cinema in Europe. The cinema in the USSR.	57.58.; 59.;60.	L2;L2;L2;L2 L2;L2;L2;L2
20. The cinema in the USA. Hollywood and the Cold War. Transformations in the studio system. The development of film style and technology. The cinema and TV. Films and filmmakers.	61.;62.;63.;64.	L2;L2;L2;L2;L2;L2;S2;S2
21. The development of the contemporary cinema after 1960. Changes in film style and technology. Film studies as an academic discipline.	65.	L2;L2
22. France. The New Wave. G. Goddard, F. Truffaut, E. Romer, C. Chabrol, J. Rivette. The problem of copyright in the films. Other French directors. A. Resnais, A. Varda. The New Wave in the French cinema.	66.,67.,68.,69.,70.	L2;L2;L2;L2;L2;L2;S2;S2; L2;L2
23. The new German cinema. V. Schlendorf, R.W. Fassbinder, W. Herzog, W. Wenders.	71.;72.;73	L2;L2;L2;L2;S2;S2
24. The new British cinema.	74.	L2;L2
25. Italy. L. Visconti, F. Fellini, M. Antonioni.	75.;76.;77.	L2;L2;L2;L2;L2;S2
26. Films in the USSR and Eastern Europe after Stalin’s period. Poland, Czechoslovakia, Hungary, Yugoslavia. Andrey Tarkovsky.	78.;79.;80.;81. 82.	L2;L2;L2;L2;L2;L2;L2;L2;L2;S2
27. The cinema in Asia and Africa. The new cinema in Japan. Akira Kurosawa.	83.;84	L2;L2;L2;L2
28. The cinema in Scandinavia. I. Bergmann.	85.;86.	L2;L2;S2;S2
29. The experimental cinema. Videoart.	87.	L2;L2
30. The cinema in the USA after 1960. Changes in the studio system. The Art Cinema in Hollywood. The Personal Cinema. Blockbusters. Filmmakers.	88.;89.;90.;91.;92.	L2;L2;L2;L2;L2;L2;L2;L2;L2;S2
31. The cinema at the end of the 20^th century. The cinema system in Eastern Europe after the decline of the USSR. The world film market. The development of the film style and technology.	93.;94.;95.;96.	L2;L2;L2;L2; L2;S2; S2;S2

Requirements for the Acquisition of Credit Points:

1. Presence and a positive assessment at seminars.

2. Successfully passed tests and examinations.

Literature:
1.Card J. Seductive cinema: the art of silent film, USA, 1994

2.Cherchi Usai P. Burning Passions: an introduction to the study of silent cinema, BFI, 1991

3.Chronicle of the cinema, GB, 1995

4.Civjan J. Istorièeskaja recepcija kino: kiòematograf v Rossii 1896 - 1930, Riga, 1991

5.Curtis D. Experimental Cinema: a fifty year evolution, GB, 1971

6.Lotman J., Civjan J. Dialog s ekranom, Tallinn, 1994

7.Movies of the silent years, London, 1985

8.Robinson D. World Cinema: a short history, GB, 1973

9.Salt B. Film Style& Technology: History & Analyses, England, 1992

10.The Oxford History of World Cinema, GB, 1996

11.Thompson K., Bordwell D. Film history: an introduction, USA, 1994