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Pablo. G. del Amo - editing fragments
Toupalová, Kristýna ; Čihák, Martin (advisor) ; Trajkov, Ivo (referee)
The thesis is an imaginary film which adopts the structure of Carlos Saura?s movie Elisa, vida mía (Elisa, my life, Spain 1976). Main ?characters? are the editor Pablo G. del Amo, the directors Carlos Saura and Víctor Erice and the producer Elías Querejeta, all of whom have left a profound trace on the history of Spanish cinema in the second half of the 20th century. However, my film is confined to the period between 1965 and 1976, marking the beginning of their collaboration. They aimed to shoot authorial movies, to reach certain continuity of the work and to comment as much as possible on the political situation ? this was the period when General Franco?s regime was almost over. Another aim of Querejeta?s production was to draw out discerning viewers, i.e. to prove that such an audience already existed.
Elisa, my life, Saura?s most personal film, closes one period of work of all the ?characters?, and marks a certain turning point. Elisa leads my film through its work with space-time and motives to tell about the chosen period and films from certain points of view. Structuring my thesis on a film enables me to work with different kinds of materials: historical facts, contemporary press, film analyses and autobiographical information. This creates different mutually intertwining lines. The story of Pablo G. del Amo?s life is so essential for his decision to dedicate his entire life to cinema, that several sequences have been devoted to him. My film should provide the same reminiscent approach characteristic of the researched material. The theme of memory gives impulses to the characters to move in space and time, to their childhood, imagination and dreams. Memory ? personal as well as of the whole society ? is understood not only by means of remembering, but also of intentional forgetting.
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Narrow format at eight
Procházka, Jiří ; Daňhel, Jan (advisor) ; Čihák, Martin (referee)
The topic of my thesis is 8 mm film strip with pictures. David among Goliaths. The goal is not the
rehabilitation of the smallest film material, nor is it its defense. The reason is much simpler, even
selfish. I am sick. I see only pixels, mega screens, chips, noise, aliasing, blooming. I hear only bits,
bytes, tera processors, encryptions, compressions. I feel cold and smell stench, I fear death. This
work is my therapy. It aims to reduce mental pains from cancer inducing binary system, killing the
image of light fertilized by angels. Our session consists of seven comprehensive chapters, which we
experience together. Some are lectures, others require your cooperation. We meet predecessors of
eight millimeter squirt, we will talk about his possibilities and limitations, we will compare him
with his half-brother bastard digital. We will stretch our ears to the wisest counselors from the list of
theorists and experienced practitioners. Therapeutic talk will finish with a good night story from the
highly competent author. We will not unduly deal with and dissect historical dates, names or events.
Facts are here distributed as silver in a sensitive emulsion. If you, inquisitive reader, find some bits
and pieces attractive or interesting, pick one of the books that are listed at the end. There you can
find answers to your questions. Your own search will be spiced up by more than mere list of
information which I could provide you in these lines. And if that happens, my work was not in vain.
Even I have walked that path, and perhaps under the influence of the smell of old books, under the
weight of their yellowed pages, leather bindings with gilt letters, writings in Old Czech language, I
dared to mate this language with the hairiness of my own language. Quotes are mentioned in the
original version, in case I attempt a free verse, I play with words and letters, as each can play with a
narrow format.
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Optophonetic harmonies
Klímová, Blanka ; Čihák, Martin (advisor) ; Bagdasarov, Georgy (referee)
The basic starting point of the following text lies in the essays written by Czech theorists of 1930s, such as poets, scientists, film critics and avant-garde filmmakers. The text proceeds from the precedence of asynchronity which is the fundamental mean of the film language. It follows the origins of using the sound as the bearer of meaning and it looks for describe it as a meaning-making element of the film transmission. I?m writing about the experiments of visualisation of sounds based on searching the analogy between the visual and the acoustic space of a film opus. I proceeded from the films of O. Fischinger, Whitney brothers, L. Lye, H. Hirshe, F. and S. Themerson and J. Lehovec. For the analysis of relations between geometrical and informel structures depending on the space and the time, I used the films of M. Duchamp, F. Léger, G. Dulac, H. Chomette, R. Steiner, H. Richter, V. Eggeling and W. Ruttmann.
An integral part of this text is the formal analysis of the film Na Pražském hradě (Prague Castle, 1931) by Alexander Hackenschmied. All this only for find the optophonetic harmonies, based on the vibrations of the acoustic and visual waves and their synchronous or asynchronous variations.
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Vertikal montage in Kenneth Anger s films
Brajnik, Črt ; Daňhel, Jan (advisor) ; Čihák, Martin (referee)
In this work I will analize the creative opus of the American filmmaker Kenneth Anger, who worked from the late 40´ (his first short Fireworks dates back to the year 1947) till the present time. There are several subject which are offered to the pen of an enquiring spirit. As a matter of fact we deal with a person who developed a specific aesthetic that became a trademark for many auteurs who got inspired by his work (in reference to David Lynch and Martin Scorsese). His internal growth lead him from esoteric themes (as a follower of the Thelema sect founded by Aleister Crowley) to mundane ones, dealing with his beloved Hollywood (Babyloon), weaving a thread leading to homosexual evocations intertwined with the pop culture of the Beat generation.
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The Zigzag line in the other dimension
Oraský, Jan ; Trajkov, Ivo (advisor) ; Čihák, Martin (referee)
The main inspiration of my work is the essay, The Zigzag line, Jeremy Adler, which is interested in the curves like aesthetic value. I have also chosen the theoretical study of Professor Josef Valušiak. His publication is the inspiration for my idea about artistic value of curves. I think that the zigzag line is everywhere around us and these lines influence our opinion and feeling of this world. I want to find equivalence relation between zigzag lines and film.
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Work with Time - Time of Work
Špidla, Šimon ; Čihák, Martin (advisor) ; Daňhel, Jan (referee)
This work concerns the issue of deconstruction of time on its way through a lens, editing room and screening room and its reconstruction in proces of imagination. First capture tries to describe problem of cotinuous and discontinuous character of universe. Next chapters are focused on transformation of time in proces of filmmakeing and its perception in point of viev of filmmaker.
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The spirit of the beehive, amid history, movie and dream
Toupalová, Kristýna ; Čihák, Martin (advisor) ; Daňhel, Jan (referee)
Este texto trata de la película El espíritu de la colmena (Victor Erice, 1973) que se considera una de las mejores películas del cine espa?ol, pero, en la República Checa no es casi conocida, aquí ni existe literatura sobre ella, por lo tanto, este trabajo lleva traducciones de los textos interesantes escritos sobre ella en Espa?a. Consta de tres partes. La primera parte se ocupa detalladamente por los títulos de crédito de la película, describe su importancia para todo el relato fílmico. La segunda parte menciona los grandes cambios en el guión literal antes de empezar a rodar la película y su influencia a toda la película. La tercera parte (la más extensa) es el análisis formal y argumental de El Espíritu de la colmena. Describe el modo de trato de los personajes que conlleva el modo de trato de las relaciones espacio-temporales, describe cómo el ambiente de la postguerra está hecho de ausencias de los hechos históricos ? cómo se muestra la historia vista por un ni?o y al final cómo son las metáforas utilizadas. Uno de sus objetivos es investigar cómo se forma un mundo de una ni?a peque?a y cómo es posible que sea tan verosímil para el espectador.
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