The latvian academy of culture

Preconditions for the Acquisition of the Credit Points:

22. 
    The performance of all the practical tasks.
    
23. 
    A positive assessment in the seminars.
    
24. 
    The execution of the practical part of the examination. This assessment constitutes half of the final evaluation.
    
25. 
    A positive assessment in the oral part of the examination.
    

Literature:

18. 
    Dzenītis, Ģ. Tālrāde. - Rīga, 1984
    
19. 
    Alkin, S. Sound Techniques for TV. - London, 1995
    
20. 
    Cokin Creative Filter Lyster. - France, 1983
    
21. 
    Fisher, K. Portratfotografie. - Leipzig, 1973
    
22. 
    Hatrwig, R. Basic TV Tehnology. - London, 1996
    
23. 
    Mehhert, H. Das Bild im Film und Fernsehen. - Leipzig, 1986
    
24. 
    Mehert, H. Filmfotografie, Fernsehfilmfotografie. - Leipzig, 1986
    
25. 
    Mehert, H. Filmfotografie.- Leipzig, 1965
    
26. 
    Millerson, G. Lighting for Video. - Oxford, 1991
    
27. 
    Musberger, R. Single-camera Video Production. - London, 1993
    
28. 
    Paulke, W. Perspektive. - Leipzig, 1965
    
29. 
    Ward, P. Basic Betacam Camerawork. - London, 1995
    
30. 
    Zetti, H. Television Production Handbook. - California, 1992
    
31. 
    Zuholowsky, F. Maske, Typ, Charakter. - Leipzig, 1971
    
32. 
    Аранхо,И. Архитектурная композиция.- Москва, 1983
    
33. 
    Баднев,М. Техничекая психология. - Москва, 1966
    
34. 
    Батров,Е. Очерки Теории Телевидиня. - Москва, 1978
    

The Name of the Course: The Cinema and Video Direction
The Scope of the Course: 4 terms: 120 hours of lectures ( 88 hours of theoretical classes, 40 hours of seminars) The type of assessment: a test at the end of Terms 3, 4 and 5, an examination at the end of Term 6. 4credit points
The Author of the Course: Prof. Ansis Epners
Preconditions for the Acquisition of the Course: The students should be ready to do serious and independent work during the days free from lectures and seminars: both theoretical (film observation, literature about the cinema) and practical (home tasks, e.g. the preparation of projects, the sketches of the director’s scripts, shooting the study tasks, editing).
The Contents of the Course: The course includes the most important theories, methodology and practical classes of the cinema and video direction, which are based on the individually developed programme of the author of the course ”The Gene of a Director” and the internationally tested synthesis of the cinema school programme. The practical advice of the famous cinema directors, for instance, S. Eisenstein, G. Kozintsev, L. Kuleshov, F. Fellini, C. Zavattini, F. Truffaut, I. Bergman, A. Tarkovsky, Dz. Vertov and A. Mitta is also included (it is drawn from the theoretical works of these authors, memoires and the treatises of other authors, specialists of the science of the cinema).
Thematic Planning:

Theme	Week	Type of classes and hours
TERM III
The essence of cinema direction.	1	L 2
The revelation of the personality of the cinema director.	2.,3.	L 2, L 2
Film notes and testing of the editor’s professional thinking.	4.,5.	L 2, S 2
The director’s script.	6.,7.,8.	L 2, S 2, S 2
The ABC of the language of the cinema.	9.,10.	L 2, L 2
The types of editing.	11.,12.,13.	L 2, L 2, S 2
The composition of a film.	14.,15.,16.	L 2, S 2, S 2
TERM IV
Synopsis, a script.	17.,18.,19.	L 2 , S 2, S 2
The rhythm, and time of a film.	20.,21.	L 2, L 2
The genres of the cinema.	22.,23.,24.	L 2, L 2, L 2
The mise-en-scene.	25.,26.,27.	L 2, L 2
The self-value of a frame.	28.,29.	L 2, S 2
The basic principles of the organisation of cinema art.	30.,31.,32.	L 2, L 2, L 2
TERM V
A. Tarkovsky’s creative work.	33.,34.,35.	L 2, S 2, S 2
The experience of Latvian film directors.	36.,37.,38.	L 2, L 2, S 2
The fundamentals of shooting a dialogue.	39.,40.,41.	L 2, L 2, S 2
The method of improvisation.	42.,43.	L 2, S 2
The phase of editing – checking the self-value of a frame.	44.,45.,46.	L 2, L 2, S 2
Voice-over. The monologue.	47.,48.	L 2, L 2
TERM VI
I. Bergman’s creative work.	49.,50.,51.	L 2, S 2, S 2
Dz. Vertov’s “school”.	52.,53.	L 2, S 2
The features of the creative work of S. Eisenstein.	54.,55.,56.	L 2, L 2, S 2
Provocation as a method.	57.,58.	L 2, S 2
The schemes of the film production.	59.	L 2
The types of video – art.	60.,61.	L 2, L 2
Computer graphics and director’s conception.	62.	L 2