The latvian academy of culture

*V – video material at lectures and its analysis, film watching

**P – practical classes

Requirements for the Acquisition of Credit Points: To pass an examination at the end of each term consisting of a theoretical and a practical part.

Literature:

1.Alton J. Painting with Light. - New York, 1964.

2.Kriss Malkiewicz . Film Lighting A Fireside Book. Published by Simon&Schuster, NY, 1992

3.Clarke C. G. Professional Cinemotography. - New York, 1964.

4.Mehnert H. Filmfotografie, Fernsehfilmfotografie. - Leipzig, 1986.

5.Millerson G. Lighting for Video. - Oxford, 1991.

6.Donner J., Nykvist S. Cinematographer in Swedish Films 1974. - Stockholm, 1974.

7.Ward P. Basic Betacam Camerawork. - London, 1995.

8.Франк Г.Карта Птолемая. Записки документалиста – Москва, 1975

9.Кино енциклопедический словаръ (гл. Ред. Юткевевич (.И.), Москва,1986

10. Ward P. Basic Betacam Camera work – London, 1995

CXIX.BA STUDY PROGRAMME Part B

Description of the Study Course
The Name of the Course: The Study of Colours
The Scope of the Course: 64 lectures: 52 theoretical classes and 12 hours of analysis of video material. 4 credit points.

The type of assessment – an oral test at the end of Term 3 and an oral examination at the end of Term 4.

The Author of the Course: Prof. Kalvis Zalcmanis
Preconditions for the Acquisition of the Course: Prior knowledge in the history of art, mythology and the history of the cinema.
The Contents of the Course: The course gives an overview about some colour theories, both Western and Eastern, about colour symbolism and application. The objective of the course is to give an idea about the art of creating a screen character which influences the audience with the help of colours.
Thematic Planning:

Theme	Week	Hours
Man and colours. The role of colours in one’s life and the process of cognition, in the development of the process of language and thinking. Colour as an objective and subjective entity.	33, 34	L2, L2
The perception of colours in Ancient Greece. The terminology of colours in Homer’s “Iliad” and “Odyssey”. The colour theories of Democritus, Plato, Pythagoras and Aristotle. The Greek and Roman colour symbolism.	35, 36
The division of colours from the psychological point of view. Warm, cold, dark and light colours. The physical and psychological aspects of primary colours. Shades and saturation of colours.	37, 38	L2, L2
Colour combinations. The similar, contrastive, complementary and achromatic colours.	39, 40	L2, L2
The character of colours. The four temperaments and their colours. Man of four colours.	41, 42	L2, L2
The colour teachings of Goethe. The subjective feel for colours. The sensual and moral influence of colours. The homogeneity and harmony of colours. The film “Light – Darkness – Colours”.	43, 44	L2, V2
W. Kandinsky. The psychological influence of colours. The language of forms and colours. The musicality of colours.	45, 46	L2, L2
The colour teachings of J. Itten. The circle of 12 tones. The three aspects of the influence of colours. The five subjective types of colours.	47, 48	L2, L2
Term 4
The human aura and its colours. Kirlian’s effect. Chakras and their colours. The essence of a seven-colour spectre. The energy of colours.	49, 50	L2, L2
The symbolism of the colours of mandalas. The mandala of colours: a key to the symbol system. Colours in the mandalas of buddism. Kalachakras in the mandalas of cosmic Buddas.	51, 52	L2, L2
The achromatism of Japanese art. Connection with Zen Buddhism. The first Heian Period of colours. The highest growth of colours in the Momoyama Period. The aesthetics of the black colour. The film “Rasiamon” by A. Kurosawa.	53, 54	L2, V2
The symbolism of the colours of the black race. The meaning of colours in clothing and rituals. The colours of priority.	55	L2
The colour tests of M. Lusher and H. Fielding.	56	L2
Creative colours and their criteria. The principles of their application. The film “The Yellow Submarine”.	57, 58	L2, V2
The drama of colours. The dramatic solution of colours by S. Eisenstein. The films “The Death of a Poet” and “Ivan the Terrible”. The colouristic conception and realization. The film “The Red Desert” by Antonioni.	59 - 64	L2, L2, V2, V2, L2, V2

V – the video material of lectures and its analysis
Requirements for the Acquisition of Credit Points:

1. Presence at the lectures.

2. A successfully passed oral examination.
Literature:
1. Color Harmony Workbook. – Rockport Publishers, Inc. Massaschusetts, 1999.

2. Thurman, Rhic. Wisdom and Compassion: The Sacred Art of Tibet. – Tibet House of Abrams, 1997.

3. Gage, John. Kulturgeschichte der Farbe. – Otto Maier Ravensburg, 1997.

4. Goethe J.W. Farbenlehre. – Koln, 1985.

5. Heller E. Wie Farben Wirken. – Rowohlt Verlag GmgH, Reinbek bei Hamburg, 1998.

6. Kandinsky W. Uber das Geistige in der kunst. – Munchen, 1987.