Visual Communication in Eastern European Cinema 09-SNJL4sz-11

• Understanding film language: frame – shot – plan, work of the camera, different points of view, image deformation, film narration, etc.
• Metaphors of space in Andrei Zvyagintsev’s film “Elena”
• Neomythologism in Andrei Zvyagintsev’s oeuvre
• Problems of Alexander Sokurov’s films: “Russian Ark” and “Alexandra”
• New Ukrainian women’s cinema: “Stop-Zemlia” by Kateryna Gornostai
• War in the new Ukrainian women’s cinema: “We’ll fade away” by Alisia Kovalenko
• Functions of memory in Sergei Loznitsa’s works
• Absurd in the oeuvre of Kira Muratova
• Pathography in Renata Litvinova’s works
• Vera Storozheva’s Road Movies
• Holocaust Memory in Andrei Konchalovsky’s “Paradise”;

Module learning aims

• Becoming familiar with the specifics of the development of contemporary Russian and Ukrainian cinema • Broadening knowledge of terminology related to film aesthetics • Gaining knowledge about the oeuvre of contemporary Russian and Ukrainian directors • Broadening knowledge of the relationship between cinema, literature, philosophy and various fields of visual arts • Developing skills necessary for the interpretation of the film text

Major

fields of study/specialisations in the Faculty of Modern Languages and Literatures, the Faculty of English, the Faculty of Ethnolinguistics, the Faculty of Polish and Classical Philology in the School of Languages and Literatures at Adam Mickiewicz University in Poznań

Methods of teaching for learning outcomes achievement

Lecture with multimedia presentations Problem-based lecture Discussion Close reading of film texts Case study method Audio and/or video demonstrations

Student workload (ECTS credits)

- Lecture: 30 hrs. - Reading of indicated literature: 80 hrs. - Exam preparation: 10 hrs. ------------ Total student workload: 120 hrs. Number of ECTS credits: 4 ECTS

Cycle of studies

1st cycle

Module type

elective

Year of studies (where relevant)

Year 2

Pre-requisites in terms of knowledge, skills and social competences

Basic knowledge of Eastern European culture including literature and fluent command of English

Learning outcomes

The student:
• recognizes the stylistic devices used by selected directors
• names strategies and stylistic figures used to communicate with audience
• characterizes phenomena and trends contributing to the development of contemporary Russian and Ukrainian
• explains the terminology and theories related to the development of Eastern European cinema
• analyzes the relationship between Russian and Ukrainian cinema and literary tradition
• is able to express his/her opinions in relation to contemporary film studies

Assessment criteria

• attendance
• active participation in the discussion
• knowledge of recommended literature
• obtaining a pass note for a semester essay

Assessment criteria according to the scale used at UAM:
• very good (5.0): the student regularly takes part in the discussion on selected film problems, the final essay submitted constitutes an independent and critical view on the issues raised during classes and demonstrates very good and structured knowledge of the problems discussed;
• good plus (4.5): the student often takes part in the discussion on selected film problems, the final essay submitted constitutes an independent view on the issues raised during classes and demonstrates good knowledge of the issues discussed;
• good (4.0): the student takes part in the discussion on selected film issues, the final essay submitted presents independent thoughts on the issues discussed during classes and demonstrates good knowledge of the problems discussed;
• sufficient plus (3.5): the student does not take part in the discussion on selected film issues, the submitted final essay demonstrates good knowledge of the issues discussed;
• sufficient (3.0): the student does not take part in the discussion on selected film issues, the submitted final essay demonstrates sufficient knowledge of the issues discussed;
• unsatisfactory (ndst; 2.0): the student does not take part in the discussion on selected film issues, the submitted final essay demonstrates insufficient knowledge of the issues discussed.

Bibliography

• Gorlewska, Paulina. Kino postradzieckie. Trauma doświadczenia sowieckiego w rosyjskich filmach fabularnych po 1991 roku. Universitas: Kraków 2021.
• Russia on Reels. The Russian Idea in Post-Soviet Cinema, ed. by Birgit Beumers, London-New York 1999.
• Nancy Condee, The Imperial Trace. Recent Russian Cinema, Oxford-New York 2009.
• ДЫХАНИЕ КАМНЯ. МИР ФИЛЬМОВ АНДРЕЯ ЗВЯГИНЦЕВА. Сборник статей, Москва 2014.
• Olzacka, Elzbieta. "The Development of National Cinema in Post-Maidan Ukraine." East European Politics and Societies 37.2 (2023): 435-454.
• The Cinema of Alexander Sokurov, ed. by Birgit Beumers, Nancy Condee, New York 2011.
• Wilmes, Justin. “From Tikhie to Gromkie: The Discursive Strategies of the Putin-era Auteurs.” Russian Literature (Vols. 96-98, Feb-May, 2018, p. 297-327).
• Wilmes, Justin. “My Joy (Dir. Sergei Loznitsa, 2010).” Contemporary Russian Cinema Reader, Volume Three (2005-2016), Ed. Rimgaila Salys, 2019 (p. 157-175).
• Wilmes, Justin. “Empire Reloaded: Sacred Power in a Postmodern Era.” Cinemasaurus: Recent Russian Cinema in Contemporary Context, ed. Nancy Condee, 2020 (p. 48-64)

Additional information

Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system:

Description of 09-SNJL4sz-11 in USOSweb