Analysis of East European Documentary Films from a Creator’s Perspective - BMEGT43YYXX

Learning about the East-European tradition of documentary filmmaking, learning methods to analyse and understand documentary films.

1. Solid knowledge of documentary filmmaking concepts and methods.
2. Solid knowledge of the conceptualization for studying social processes
3. Magabiztos módszertani tudással rendelkezik, érti és átlátja a módszertani innováció lehetőségeit és perspektíváit. Társadalomtudományi módszertanok ismerete Basic knowledge of social science methodologies

1. Skills of making independent analysis, knowledge claims, explanations and drawing valid conclusions.
2. Ability to accomplish scientific literature research
3. Ability to participate in argumentative and rational debate

1. Awareness of the historical and social embeddedness of cultural processes and institutions
2. Awareness of the historical and social embeddedness of cultural processes and institutions
3. Professional and moral stand

1. Independence, constructivity, assertivity either in one’s own organization or interorganizational cooperations
2. Proficiency in professional communication both in oral and written form
3. Adoption and enforcement of professional standards

In-class analyses of films.

• 1. Berlin: Symphony of a Metropolis (W. Ruttmann, 1927), Man with a Movie
• Camera (Dziga Vertov, 1929), Triumph of the Will (L. Riefenstahl, 1935),
• Budapest in Winter (János Dáloky, 1940)
• 2. Newsreels from the 1930s, 1940s and 1950s
• 3. Siege of Sarajevo (SaGA Production, 1994, excerpts), Bosansko Grahovo
• (private, 1997) The Tank and the Topolino (Zagreb TV, 1991)
• 4. Pócspetri (Judit Ember, 1983, excerpt), Recsk 1950-1953: The Story of a Secret Concentration Camp in Communist Hungary (Lívia Gyarmathy, Géza
• Böszörményi, 1988, excerpt), Life of Ernő Fisch (Judit Elek, 1988, excerpt),
• Children of the Apocalypse (Ibolya Fekete, 1991, excerpt)
• 5. Polish documentaries from the 1970s
• 6. Selection (Gyula Gazdag, 1970), Your long run can always be counted on (Schirilla film) (Gyula Gazdag, 1969), The Resolution (Judit Ember, Gyula Gazdag, 1972, excerpt)
• 7. Serbian epics (Pawel Pawlikowski, 1992)
• 8. Living together (Gyarmathy Lívia, 1983)
• 9. Photography (Pál Zolnay, 1973)
• 10. Gyuri Cséplő (Pál Schiffer, 1978)
• 11. Chico (Ibolya Fekete, 2001)
• 12. Family Nest (Béla Tarr, 1979)

Participation is mandatory. No more than 3 missed classes.

Assessment of classwork and homework,

• Classwork: 50
• Homework: 50
• sum: 100

Participation

Retake and make-up test options are defined by the valid regulations of the University’s Code on Education and Examination.

Consulted with the Faculty Student Representative Committee, approved by the Vice Dean for Education, valid from: 02.06.2024.

The course addresses the secret of the strength and credibility of the genre. What are the tools and filmmaking techniques at disposal, how dominant can be the attitude and intentions of the filmmaker in the process of capturing the real events? What are the dramaturgical possibilities for organising the captured material into a story – obviously with much less chances for action-elements than a fiction film?