Puppets on Camera WSL/RTL/LPK-Z
The course Puppets on Camera focuses on learning how to consciously create and analyse photographic and cinematic images, with particular emphasis on the presence of puppets—whether theatrical or film puppets, or toys—as carriers of narrative, emotion and meaning.
The contemporary world is dominated by images. We function within a visual culture in which we receive and interpret hundreds of visual messages every day. Although most of us do this intuitively, not everyone possesses the ability to consciously construct an image and make use of its narrative and expressive potential. This is precisely what we learn during the course.
In the first semester, students become familiar with the fundamentals of photographic language. They work with composition, light, framing and perspective, developing the ability to create narratives through a static image. Puppets, as protagonists in photographic scenes, become a tool for storytelling and experimentation with form. In the subsequent stages of the course, we focus on cinematic language, particularly in the context of animated film, analysing how movement, editing, rhythm and visual form contribute to the film's message.
At the same time, students acquire practical technical knowledge. They learn how to operate a photographic camera and a film camera, the principles of lighting a set, exposure settings, focusing and other elements necessary for the professional production of photographs and film recordings. The course combines theory with practice, placing emphasis on the development of individual creativity, visual sensitivity and artistic imagination.
The classes are intended to inspire students to pursue creative explorations, encourage experimentation and help them develop their own visual language, both in photography and in film. The puppet, as an intermediate figure between the human being and the object, becomes a starting point for exploring themes at the intersection of art, theatre, film and visual culture.
The skills acquired during the course can be directly applied in the students' current or future theatrical work, particularly wherever theatre intersects with visual media, film, projections or the recording of performances. These artistic disciplines constantly overlap; therefore, the development of visual competencies is now not merely an added value, but often an essential element of contemporary stage practice.
Course coordinators
Learning outcomes
### Knowledge (W)
Upon completion of the course, the student:
W1 – Has a structured knowledge of photographic and cinematic language, with particular emphasis on the image as a means of expression in the visual and performing arts. (Ref. R_W6)
W2 – Understands the technical and artistic aspects of creating photographic and cinematic images, including light, composition, visual rhythm and image-based narrative.
W3 – Is familiar with various stop-motion animation techniques and ways of using puppets, masks and objects in front of the camera, from classical conventions to experimental approaches. (Ref. R_W10)
W4 – Has knowledge of the ways in which audiovisual tools can be used in theatrical, performative and multimedia productions. (Ref. R_W9)
### Skills (U)
Upon completion of the course, the student:
U1 – Independently produces short audiovisual works using puppets and other animated forms, making conscious use of image, movement, light and sound. (Refs. R_U1, R_U8)
U2 – Develops a coherent visual concept for a project, analyses expressive means and adapts them to the project's narrative and aesthetic objectives. (Refs. R_U4, R_U13)
U3 – Can collaborate within a creative team, both as the originator of a concept and as its executor, communicating their intentions and adopting the role of a critical audience member. (Ref. R_U6)
U4 – Uses technical equipment and software for recording and editing photographic and cinematic images.
### Social Competences (K)
Upon completion of the course, the student:
K1 – Can independently plan and carry out artistic projects incorporating photography and film, demonstrating initiative, reflection and a willingness to accept constructive criticism. (Ref. R_K1)
K2 – Demonstrates openness to experimentation with form and medium, integrating new experiences with existing knowledge of theatre and visual arts.
K3 – Consciously develops an individual artistic language and visual sensitivity, treating photography and film as tools for creative expression in the context of theatre and the performing arts.
K4 – Can identify opportunities to apply the acquired skills in professional practice, both in theatre and in interdisciplinary projects combining different media.
Assessment criteria
**Semester V – Pass/Fail Assessment**
**Semester VI – Examination**
Completion of two assessed projects: a photographic series in the first semester and a film form (short film exercise) in the second semester.
The final grade will consist of:
- assessment of participation and engagement during classes;
- assessment of the development of knowledge, competencies and awareness in the fields of photography and film;
- assessment of the assessed projects, with particular emphasis on the work invested and the fulfilment of the intended objectives;
- assessment of preparation for the final screening.
Bibliography
Core Reading:
Henry Carroll, Fotografuj jak mistrz. 50 mistrzów fotografii i ich najważniejsze dzieła. Warsaw: Arkady.
– An inspiring overview of the work of outstanding photographers, helpful in developing visual awareness and an individual style.
Bruce Block, Opowiadanie obrazem. Tworzenie wizualnej struktury filmu, telewizji i nowych mediów. Warsaw: Wydawnictwo Wojciech Marzec.
– A key publication on the visual language of film and the construction of a coherent narrative structure through images.
Mike Wellins, Myśleć animacją: [podręcznik dla filmowców], translated by Andrzej Wojnach. Wydawnictwo Wojciech Marzec, Warsaw, 2015.
– A practical and inspiring introduction to thinking in terms of animation, intended for directors, animators and creators of visual narratives.
Piotr Sitkiewicz, Małe wielkie kino. Film animowany od narodzin do końca okresu klasycznego. słowo/obraz/terytoria, Gdańsk, 2009.
– A clear and reliable guide to the early history of animated film, from technical experiments to classical masterpieces.
Supplementary Reading:
Marcin Giżycki (ed.), Nie tylko Disney. Rzecz o filmie animowanym. Warsaw: Wydawnictwo Wojciech Marzec.
– A collection of essays and analyses illustrating the diversity of forms and meanings in animated film from historical and aesthetic perspectives.
Mariusz Frukacz, Rozmowy o animacji. 24 klatki na sekundę. Kraków: Korporacja Ha!art.
– Interviews with animation filmmakers exploring the creative process, sources of inspiration and professional practice.
Henry Carroll, Fotografuj! Poradnik dla każdego. Warsaw: Arkady.
– An accessible introduction to the fundamentals of photography, ideal for beginners and those who wish to organise and consolidate their knowledge.
Henry Carroll, Zrozumieć fotografię. Jak patrzeć i widzieć świadomie. Warsaw: Arkady.
– A reflective book that teaches conscious observation and the analysis of photographic images, providing an excellent resource for developing visual sensitivity.
D. Newton and D. Gaspard, Jak robi się film. Warsaw: Wydawnictwo Wojciech Marzec.
– An accessible introduction to the fundamentals of filmmaking, covering the stages of production, working with a camera and editing.
Jeremy Birn, Digital Lighting and Rendering. Berkeley: New Riders.
– For students interested in working with light in photography and film, including in the context of animation.
Susannah Shaw, Stop Motion: Craft Skills for Model Animation. London: Focal Press.
– A practical guide to stop-motion animation, useful when working with puppets and animated film.