Introduction to Film History and Criticism (Mise-en-scène)
FAMU International Fall 2006
Instructors:
Dr. Michal Bregant, Petra Dominková
Class Time:
Wednesday, 13:10 – 16:25
Location:
FAMU, U3, Lažanský Palais, Smetanovo nábřeží 2, Praha 1
Contact:
michal.bregant@famu.cz, petra.dominkova@volny.cz
Office hours:
See Dean´s office
Course Description:
This course provides an introduction to the theory and practice of film with a focus on the
development and treatment of mise-en-scène. Students will watch select films in their entirety
(English version or subtitled) as well as short clips highlighting particular topics. Through
practical and factual analysis of films students will encounter the different stylistic and creative
developments that appeared in cinema over the last century. The notion of mise-en-scene as a
tool of directing will be critically and analytically examined so as to determine a film’s possible
themes and meanings. Analysis will focus on the realist code of thought, but alternative styles
will also receive consideration.
Course Expectations:
In addition to attending class and completing assignments, students are expected to share
their opinions based on their own cultural traditions and experiences. Mutual exchange of ideas
and artistic experiences is valuable to the overall value of the course and will provide inspiration
to students in their artistic endeavors both inside and outside of FAMU. When in doubt, students
should ask questions or request clarification.
Grading
Mid-term Essay- 40%

1,000 words

Due 1 November 2006

Students will receive recommended topics for the essay two weeks before the due date.

Papers must be typed.

Late papers will be penalized

If a student must request an extension he or she must do so before the essay is assigned.

All sources (films, books, articles, interviews, websites etc) have to be cited: any time a
student quotes or paraphrases someone else’s work she/he has to give her/him credit.
Final test- 50%

Eight essay questions based on class discussions and assigned readings.

Date: 13 December 2006.
Participation in discussions- 10%
Schedule of Classes
1. (27.9.) Michal Bregant
Aspects of mise-en-scène. “Artificial” film space.
Screening: Metropolis (Fritz Lang, 1927), The Vampire (Vampyr – Der Traum des Allan Grey;
Carl Theodor Dreyer, 1932)
2. (4.10.) Michal Bregant
“Natural” film space.
Screening: A Day in the Country (Partie de campagne; Jean Renoir, 1936/46)
3. (11. 10.) Petra Dominková
Setting. Can you enter my room?
Reading: Raymond Durgnat: Six Films of Josef von Sternberg. Nichols 1, pp. 262 – 273.
Screening: Blue Angel (Der Blaue Angel; Josef von Sternberg /JvS/, 1930), The Docks of New
York (JvS, 1928), Morocco (JvS, 1930), The Scarlet Empress (JvS, 1934)
4. (18. 10.) Petra Dominková
Off-screen space. What is not in mise-en-scène.
Reading: Noel Burch: Theory of Film Practice. Princeton University Press 1981, pp. 17 – 31.
Screening: The Murderers Are Among Us (M, Fritz Lang, 1931), Shop on the Main Street
(Obchod na korze, Ján Kadár, Elmar Klos, 1965)
5. (25. 10.) Petra Dominková
Mise-en-scène and film genre. Film Noir.
Reading: Janey Place – Lowell Peterson: Some Visual Motifs of Film Noir. Nichols 1, pp. 325 –
338. Screening: Night and the City (Jules Dassin, 1950), T-Men (Anthony Mann, 1947), Kiss Me
Deadly (Robert Aldrich, 1955), On Dangerous Ground (Nicholas Ray, 1952)
6. (1.11.) Michal Bregant
Mise-en-scene as Manipulation. Depth of Field. Style without Style
Screening: Citizen Kane (Orson Welles, 1941), Peter Ibbetson (Henry Hathaway, 1935)
7. (8.11.) Michal Bregant
Mise-en-scène and Violence. Actors as an instrument.
Screening: Psycho (Alfred Hitchcock, 1960)
8. (15. 11.) Michal Bregant
Mise-en-scène and the New Wave. Spontaneity? Improvisation?
Screening: Shadows (John Cassavetes, 1959); Blonde in Love (Lásky jedné plavovlásky; Miloš
Forman, 1965)
9. (22.11.) Petra Dominková
Can you see the picture? Mise-en-scène in Antonioni.
Reading: Geoffrey Nowell-Smith: Shape and a Black Point. Nichols 1, pp. 354 – 363.
Screening: Adventure (L´Avventura; Michelangelo Antonioni /MA/, 1960), The Night (La notte,
MA, 1960), The Eclipse (L’Eclisse, MA, 1962)
10. (29. 11.) Petra Dominková
Mise-en-scène and ideology: Long Live Communism!
Reading: André Bazin: The Stalin Myth in Soviet Cinema. Nichols 2, pp. 29 – 40.
Screening: I am Cuba (Soy Cuba / Ya Kuba; Mikhail Kalatozov, 1964), Olympia (Leni
Riefenstahl, 1938), The Battleship Potemkin (Bronenosec Potemkin, Sergei Eisenstein, 1925)
11. (6.12.) Petra Dominková
Who is looking after my baby? Feminist approach.
Reading: E. Ann Kaplan: Motherhood and Representation: The Mother in Popular Culture and
Melodrama. Routledge1992, pp. 180 – 219 (chapter “Sex, Work and Mother/Fatherhood”).
Screening: Bye Bye Monkey (Ciao maschio; Marco Ferreri /MF/, 1978), I love you (MF, 1986),
Tales of Ordinary Madness (MF, 1981)
12. (13.12.)
Final test.
Readings:
David Bordwell – Kristin Thompson: Film Art. An Introduction. (International Edition.)
McGraw-Hill, 1993.
David Bordwell – Kristin Thompson: Film History. An Introduction. International Edition.
McGraw-Hill, 1994.
Bill Nichols (Ed.): Movies and Methods. University of California Press 1976 (vol. 1); 1985 (vol.
2)
Michael Rabiger: Directing. Film Techniques and Aesthetics. Focal Press 2003.
Robert Sklar: Film. An International History of the Medium. Thames and Hudson 1993.