The latvian academy of culture

Requirements for the Acquisition of Credit Points:

1. To get a positive assessment at seminars.

2. To successfully pass an examination.
Literature:

1. Barnouw E. Documentary: a history of the non-fiction film, GB, USA, 1983.

2. Documentary Cinema: Yesterday. Today. Tomorrow., Jūrmala, 1977 – 1989.

3. Winston B. Claiming the Real: Griersonian Documentary and its legimations, London, 1995.

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
Term 3
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.

The Name of the Course: The Theory of Drama

The Scope of the Course: 64 academic hours (48 hours of lectures, 16 hours of

seminars)

4 credit points. The type of assessment – a test and an

examination.

The Author of the Course: Prof. Gunārs Bībers, Dr. philol.

Preconditions for the Acquisition of the Course:

1. To have knowledge about the issues of literary theory at the level of

secondary school.

2. To know at least one foreign language for the acquisition of the

theoretical literature.

The Contents of the Course: The interrelation of tradition and innovation: the structural elements of drama are revealed in their functional correlation. The objective of the course is to present a survey of the development of drama theory in relation to the drama practice of the relevant period; to introduce the theoretical views on drama of the most outstanding Latvian playwrights; to link the issues of drama theory with the basic development tendencies of the art of the theatre.

The Thematic Planning:

CIII.Theme		CIV.Week	Type of classes and hours
1	The classification of literature into types, subtypes and genres. Epic. Poetry. Drama.	1	L2
2	The most significant features of drama. Dramatism. Action. Conflict. Personage, character, type. The typological character. The peculiarities of revelation of personages in drama.	2	S2
3	The general principles of composition of a play. The unity of action. Completeness.	3	L2
4	Plot with a story and without a story. Types of plots with a story. Types of situations. Elements of plots with a story. Plots without a story. The role of montage in the structural formation of plots without stories.	4	L2
5	The arrangement of a system of characters. The organisation of time and space in drama.	5	L2
6	Subtypes and genres of drama. Tragedy. Ancient tragedy. Tragedy in Renaissance. Tragedy in Classicism. Tragedy in the period of Romanticism. The problem of tragedy in the drama of the 20^th century.	6	S2
7	Comedy. The explanation of the essence of the comic in the works of I. Kant, G. Hegel, Z. Freud and A. Bergson. The genre of comedy. Farce. Commedia dell’arte. Vaudeville. The lyric comedy. The heroic comedy. The satiric comedy.	7	L2
8	Drama. The modifications of the genre during the historical development. The drama of the Enlightenment period, the drama of Critical Realism. The drama of Naturalism. The drama of Expressionism, Symbolism and Surrealism. Drama and other types of art. Play and the filmscript. Play and the theatre. Play and television.	8	L2
9	Information about the most popular systems of production in the 20^th century.	9	L2
10	A historic survey of the development of drama theory. The theory of drama in Ancient Greece and Rome. Aristotle Poetics. Horace Ars Poetica.	10	S2
11	The theory of drama in the Middle Ages. The understanding of the tragic and the comic as aesthetic categories. Genres of plays. The liturgical drama. Mystery. Miracle. Morality. Farce. Carnival. M. Bakhtin’s views on the essence of carnival.	11	S2
12	The theory of drama in the period of Renaissance. Statements of the Italian humanists on tragedy and comedy.	12	L2
13	The theory of drama in England. The significance of Shakespeare’s plays for the development of the theory of drama.	13	L2
14	The theory of drama in Spain during the Golden Age of the drama development. Lope de Vega New Indications on Comedy Writing.	14	L2
15	The basic features of drama of the Spanish Baroque period. The importance of P. Calderon’s works in the further development of the theory of drama.	15	L2
16	The theory of drama in France during the period of Classicism. N. Boileau The Art of Poetry, views of P. Corneille, J. Molière, J. Racine on tragedy and comedy.	16	L2
17	The theory of drama during the period of Enlightenment. The theory of drama in France. D. Diderot Paradox on Actor. D. Diderot On Dramatic Poetry.	17	S2
18	The theory of drama in Germany during the period of Enlightenment. G. Lessing Hamburgische Dramaturgie.	18	L2
19	The theory of drama in Germany before Romanticism. Views of F. Schiller and J. W. Goethe on drama.	19	L2
20	The theory of drama in Germany during the period of Romanticism. Views of A. Schlegel and F. Schlegel on drama. A. Schlegel Lectures on Dramatic Art. R. Wagner’s views on musical drama.	20	L2
21	The theory of drama in France during the period of Romanticism. V. Hugo’s theoretical views on drama. The preface of V. Hugo to the play Cromwell.	21	L2
22	G. Hegel’s views on drama. The explanation of the essence of a conflict, the tragic, the comic and the structure of a play in G. Hegel’s works.	22	L2
23	The theory of drama in the period of Critical Realism. Views of H. Ibsen and B. Shaw on drama. B. Shaw The Quintessence of Ibsenism.	23	L2
24	The aesthetic principles of Naturalist drama. E. Zola Naturalism in the Theatre.	24	S2
25	The theory of drama in the 20^th century. The aesthetic principles of Modernist drama. The most significant features of the drama of Expressionism, Symbolism and Surrealism. Information on theoretical manifests of the representatives of these trends. M. Maeterlinck The Treasures of the Humble.	25	L2
26	The aesthetic principles of Realistic drama. B. Brecht’s theory of the epic theatre. B. Brecht The New Organon for the Theatre. B. Brecht Dialectics in the Theatre.	26	S2
27	The aesthetic principles of intellectual drama of A. Camus and J. P. sartre.	27	L2
28	The influence of Neo-Realism on the formation of the aesthetic principles of the English rebellious playwrights.	28	L2
29	The aesthetic principles of documentary drama.	29	L2
30	The aesthetic principles of absurd drama.	30	L2
31	The development of drama theory in Latvia. The theoretical views of R. Blaumanis, Rainis, M. Zīverts, G. Priede, P. Pētersons on drama.	31	L2;S2

Requirements for the Acquisition of Credit Points:

7. 
   To receive a positive assessment at seminars.
   
8. 
   To pass a test and an examination.
   

Literature:

Bently E. The Life of Drama. - NY, 1967.

Carlson M. Theories of Theatre. - NY, 1984.

Dirrenmatt F. Theaterprobleme. - Zürich Im Verl, der Arche, 1955.

Elam K. The Semiotics of Theatre and Drama. - London, 1980.

Innes C. Avant Garde Theatre. - London, 1993.

Kesting M. Zur Strukturen modernen Drama. - köln. Berlin, 1966.

Modernism. Literature 1890-1930. - London, 1991.

The Name of the Course: The History of the World Cinema: TheHistory of the Latvian Cinema.

The Scope of the Course: 64 academic hours (50 hours of lectures, 14 hours of seminars)

4 credit points.

The type of assessment –an examination

The Authors of the Course: Lecturer Inga Pērkone, MA, lecturer Agris Redovičs

Preconditions for the Acquisition of the Course: Prior knowledge in the history of the world culture and cinema. Proficiency in foreign languages.

The Scope of the Course: The course characterizes the development of the Latvian cinema, introduces the trends of the national cinematography, films and their producers.

The Thematic Planning:

Theme	Week	Type of classes and hours
1. The Cinema in the territory of Latvia before World War I.	1.	L2;L2
2. The Formation of national cinematography in the 1920’ies. Newsreels, culture films, actor films. The film Lāčplēsis.	2.	L2, S2
3. The film policies and the repertoire in Latvia in between the wars. The appearance of the sound cinema. Eduards Kraucs.	3.	L2;L2
4. The cinema a state monopoly in the 1930’ies. The film Zvejnieka dēls.	4.	L2;S2
5. The Cinema in Latvia during 1940 – 1945.	5.	L2; L2
6. The Latvian cinema in exile	6.	L2;L2
7. The Cinema in Latvia before the year 1955. The system of the cinema. The film Rainis.	7.	L2;L2
8. The Latvian actor film and its producers in the 1950’ies – the 1960’ies. Leonīds Leimanis.	8.	L2,S2
9. The documentary cinema of the sixties. A. Freimanis, I. Seleckis, U. Brauns, H. Franks, G. Piesis.	9.	L2,S2
10. Latvian cameramen.	10.	L2;L2
11. The cinema from 1970 to 1990. The cinema repertoire. Film critics. Actor films and their producers.	11.,12.	L2;L2;L2;S2
12. The documentary film and its producers from 1970 to 1990. Telefilma – Rīga.	13.;14.	L2;L2;L2;S2
13. The Latvian animation cinema. Puppet films. Animated cartoon.	15.	L2;L2
16. The Latvian films after regaining the State independence. The system of the cinema. Films and their producers.	16.	L2;S2

Requirements for the Acquisition of Credit Points:

1. To participate and receive a positive assessment at seminars.

2. To successfully pass an examination.

Literature:

1.Latvijas kino1920.—1940. Iepazīšanās. Rīga, 1990

2.Līce S. Latviešu literatūras klasika kinomākslā. Rīga,1977

3.Līce S. Viņi veidoja latviešu mākslas filmu vizuālo tēlu. Rīga,1995

4.Padomju Latvijas kinomāksla. Rīga, 1989

5.Par sevi, par savu dzīvi, par savu darbu kino: latviešu aktierfilmu režisori. Rīga, 1991

BA STUDY PROGRAMME Part C