🔵 🔴 🟡 Course description

Students will learn the basic principles of image and sound composition through the study of key and pivotal artists of cinema. In the theoretical part of the course, we will see and discuss/analyze examples of masterpieces of cinema starting from the birth of cinema to the present day. In the practical part, through exercises in the laboratory, they will become familiar with the creative process and experiment with their own ways of expression, developing their personal perspective and judgment in their own creative processes. During the semester, they will work on three different projects, two of which are individual and one is a group project.

At the end of the course, the student will be able to:

1. To know and distinguish the main film movements and their exponents based on their particularities in editing, videography and thematic techniques.
2. To develop critical thinking regarding the ways of representing and recording/altering reality through audiovisual media.
3. Have knowledge of the basic editing tools and techniques that will allow him/her to express themselves.
4. Be able to present his/her personal work with reference to its artistic context.
5. Be able to organize research and the production of academic writing.

🔵 🔴 🟡 Theory (1 hour)

1. Moving visual composition, the birth of cinema
2. Basic videography techniques, Introduction to Russian formalism (Dziga Vertov)
3. Editing methods (Sergey Eisenstein)
4. French Avant-garde Cinema (1920-1930)
5. German Expressionism (1913-1933)
6. American underground cinema (1950-2000)
7. Italian Neorealism (1942-1951)
8. Robert Bresson (1901-1999)
9. Nouvelle Vague (1959-1964) (Francois Truffaut, Jean Luc Godard)
10. Author's cinema: Alain Resnais, Michelangelo Antonioni
11. New German Cinema (1962-1982)
12. Tarkovsky and Asian filmmakers
13. Dogme 95, B movies, Queer cinema

🔵 🔴 🟡 Workshop (2 hours)

1. Videography (single shot/moving camera/moving image)
2. Individual editing exercise 1 (composition)
3. Individual editing exercise 2 (audio and video)
4. Teamwork: the scenario idea
5. Group work: storyboard
6. Group work: video recordings
7. Group work: Short film editing 1
8. Group work: Short film presentations 1
9. Individual work: the scenario idea
10. Individual work: storyboard
11. Individual work: video recordings
12. Individual assignment: Short film editing 2
13. Individual work: Short film presentations 2 

Review language: Greek

🔵 🔴 🟡 Evaluation method:

• By submitting a written assignment – percentage of grade (5%)
• With written paper presentation – percentage of grade (25%)
• With group work presentation - percentage of grade (25%)
• With presentation of individual work - percentage of grade (25%)
• With attendance in the first 4 laboratory courses 20% 

• Face-to-face
• Support of the Learning process through the electronic platform e-class
• Use of slides, audiovisual examples, laboratory - practical exercises with relevant software

https://eclass.uop.gr/courses/PDA179/

🔵 🔴 🟡 Course Textbooks [Eudoxus]

1. How I Watch a Movie (2006) Santas Konstantinos, published by Grigoris OE
2. The Montage (2021) S.M. Eisenstein, B. Balazs, L. Kuleshov, J. Vertov, Z. Mitri, A. Bazin, N. Birch, D. Vilen, P.P. Pasolini, V. Rafaelides, T. Davlopoulos, D. Gouziotis, G. Dizikirikis, published by Aigokeros

Additional Teaching Material

1. Arnheim, R. (1993) Film . Faber
2. Crittenden, R. (2005). Fine Cuts: The Art of European Film Editing. Oxford: Taylor & Francis
3. Eisenstein, SM (1943). The film sense . Faber
4. Eisenstein, SM (1951). Film form . Denis Dobson
5. Eisenstein, SM (1959). Notes of a film director
6. Lawrence & Wishart. Feldman, JH (1952). Dynamics of the film . New York: Hermitage House
7. Gray, H. (Ed.). (1970). What is Cinema? Univ of California Press
8. Monier, P. (1958). The complete technique of making films . Focal Press
9. Nilsen, V. (1936). The cinema as a graphic art . Newnes
10. Pudovkin, VI (1993) Film technique . Newnes
11. Rotha, P., & Richard, G. (1949) The film till now. Vision Press
12. Spottiswoode, R. (1935 ). The grammar of the film. Faber
13. Foreign Language Articles
14. Bauchens, A. (1938). Cutting the film. In N. Naumberg (Ed.), We make the movies . Faber
15. Booth, M. (1938). The cutter. In S. Watts (Ed.), Behind the screen . Barker
16. Colpi, H. (1956, December). Debasement of the art of montage. Cahiers du Cinéma, (65)
17. Eisenstein, SM (1958, April). Potemkin. Cahiers du Cinéma, (82)
18. Godard, J.-L. (1956, December). Montage, mon beau souci. Cahiers du Cinéma, (65)
19. Hitchcock, A. (1938). Direction. In C. Davy (Ed.), Footnotes to the film . Lovat Dickson
20. Hitchcock, A. (1949). Film production technique. British Cinematography , 14 (1)
21. Lean, D. (1947). Film director. In O. Blakeston (Ed.), Working for the films . Focal Press
22. Renoir, J., & Rossellini, R. (1958/59). Interviewed by André Bazin. Cinema and television. Sight and Sound , 28 (1, Winter)
23. Wadsworth, C. (2015). The Editor's Toolkit: A Hands-On Guide to the Craft of Film and TV Editing. Taylor & Francis. pp. 1-105

Translated into Greek

1. Bordwell, D. and Thompson, K. (2012). Film Art: An Introduction . Translated into Greek by Katerina Kokkinidis. McGraw Hill Co Inc (Original publication: 1988)
2. Dick, B. (2010). Anatomy of Film . Translated into Greek by Ioanna Davarikou. Paris: St. Martin's Press (Original publication: 1990)
3. Eisenstein, S. (2003). Film Form . Translated into Greek by Nikos Panagiotopoulos and Kostas Sfikas. Mariner Books (Original publication: 1949)

Greek bibliography

1. Davlopoulos, T. (2009). Time, cinema, editing . Athens: Capricorn
2. Carlos, H. (2010). “Technology and the art of editing”. Video editing: Technology, art and technique. Athens: Enastron. pp. 179-220
3. Konstantopoulou, V. (2013) Introduction to the aesthetics of cinema: Capricorn
4. Roviros, M. (2015). Montage . Athens: Gavriilidis