Annotation of the cycle

Students will gain basic knowledge of sound and music in connection to moving imagery. They will be capable of critically thinking about the use of sound in today’s world saturated by audiovisual stimuli. They will also gain an awareness regarding key milestones in the history of cinematography and groundbreaking works in which sound was unconventionally used.

The attendees will also use the gained theoretical and practical knowledge in the discussion with the guest speakers, professionals in the film industry, who will introduce sound and music from a perspective associated with their profession.



A series of 4 lectures, each 120 minutes long, full of film screenings, examples from sound technician practices and discussions with the guest speakers who offer elementary insight into the unbelievably broad field of film sound and film music. We will present some technical, terminological and professional fundamentals. The first lesson is an introductory lecture with examples, the following lectures of the cycle will also feature moderated discussions with the guest speakers concerning their pieces of work. 


 * level: pre-intermediate

 * number of lectures: 4 lectures

 * lecture duration: 120 minutes (optimally 150 minutes)

 * structure of the lectures: guest speakers and screenings     

 * recommended films and books to the topic HERE         









Lecture 1 - General Introduction 

The first lecture begins with a general introduction and asks a number of questions: Why do we concentrate on sound in film? What are some complications we face? We will turn briefly to the history of how the discipline of sound in film was developed in regard to important historical milestones in the 20th century and their connection to the development of cinematography (compared to the era of so-called silent cinema). We will look at several movie examples, in which we will discover what hidden opportunities are linked to the field of sound. Not only will we explain what a Wilhelm Scream is and what it is connected to, but also how its implementation in film can be interpreted. The attendees will also get acquainted with basic professional terminology and concepts.


Lecture 2 - The Director’s approach and expectations

The lecture will be carried out as a lively discussion with the guest speaker about how a director approaches film sound and music when creating a film. Are there any limits in the way sound is used in documentaries compared to feature film? What does a director’s work look like in both the shooting and post-production phase? How does a director think about film sound and music? Does sound even suit documentary films? The film Byeway (2014) will be screened as part of the lecture- a documentary about the unfinished construction of a highway leading across the mountains of the Central Bohemian Uplands. 


Lecture 3 - Shooting and sound mixing

What are the characteristics of a sound engineer’s job? A lecture in the form of a discussion with our guest will introduce the sound engineer profession in all phases of shooting a film, from a perspective of one professional. What does cooperation with the director really look like? What does the sound engineer focus on during the process of shooting and what is his job in the post-production phase? What should you look out for when shooting? Does documentary film use sounds from sound banks? What is the link between the sound engineer profession to film music? How many microphones can be connected at once while shooting? The lecture will be completed with the screening of the film Two Nil (2012) and a discussion with the guest speaker concerning the mentioned piece. 


LECTURE 4 - Film music as conceptual art

For the sake of savings, film directors often opt for simple solutions — instead of original music, they use music pieces consisting of complete compositions. Lecturer Marek Piaček will suggest possible solutions that count with the use of existing musical pieces, but that are in fact applied in authentic music compositions. He will introduce original methods of working with specific music ideas but also the transfer of meanings, the variation of the original meanings and their placement in brand new contexts – not only in music, but also in cultural terms. In this case, these no longer represent quotations or “crossovers”. Music structures and fragments, in some cases only stylistically adopted from other compositions, are creatively altered and layered in order to achieve a new and oftentimes surprisingly different meaning.


Lecture 1

Šimon Bauer, lecturer, film and TV theorist. A graduate of Theory and History of Film and Audiovisual Studies at the Masaryk University in Brno, a long-term collaborator of the Ji.hlava IDFF and since September 2014 the Head of the Center for Documentary Film. He deals primarily with research of the programming strategies of Czechoslovakian Television in its early days and external relationships between Czechoslovakian Television and the state enterprise – Státní film. This topic is also the focus of his article published in anthology Naplánovaná kinematografie (Planned Cinema).



Lecture 2

Ivo Bystřičan (graduated Sociology at the Faculty of Social Studies, MU in Brno and Documentary Film Studies at FAMU) – guest speaker at the lecture with the film Byeway.







Lecture 3

Václav Flegl (graduated from the Institute of Musicology at the Faculty of Arts UK and the Sound Department at FAMU, he was also active in Soundsquare) – guest speaker at the lecture with the film Two Nil.








Lecture 4

Marek Piaček, Slovak composer, performer, pedagogue. The author of music, for instance, for films by Peter Kerekes (The Legends and Morytates of Ladomirova66 SeasonsCooking History). In addition to his own composing and performing activities, he is a lecturer at the Media Department at the Faculty of Humanities of the Žilina University, leads improvised music workshops, film and scenic music workshops for children and teenagers.



Supported by:                                                                                                                                 


 In Cooperation with: