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Filmy Stefana Šidovského
Spasikj, Jane ; ANGIOLILLO, Mary Carmel (advisor) ; JECH, Pavel (referee)
Výzkum a analýza práce makedonského nezávislého amatérského filmaře Štefana Sidovského. Hlavním cílem mé práce je získat podrobné informace o jeho kompletní filmografii. Snažím se sledovat vývoj v jeho tvorbě v rámci několika dekád a pochopit, jak se jeho osobní a společenský život odráží v jeho filmech.
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Dual Conception of the Character
Šámal, Matěj ; TRAJKOV, Ivo (advisor) ; JECH, Pavel (referee)
This thesis called dual concept of a character deals with the existence of films where the protagonist is not the main character of a viewer. The work examines on the basis of which principles this effect occurs. Then it is described, what kind of relations these characters have with each other, and how they influence each other during the narration. A few rules are set on the basis of the particular film examples, which fulfilment contributes to this effect. The aim of this work is to explain the difference between the function of a protagonist and the main character of a viewer. It also classifies types of stories, where the effect of a dual concept of a character occurs most often.
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Parallel Narrative: Case study
Djikanović, Luka ; JECH, Pavel (advisor) ; DOLENSKÝ, Martin (referee)
The thesis will be based on the book "The 21st Century Screenplay" by Linda Aronson. The first chapter will describe the six different parallel narratives from the book, while the most of the thesis will be based on Tandem Narrative which I will try to explain through the case study of three films: Traffic(Steven Soderbergh, 2000), Crimes and Misdemeanors ( Woody Allen, 1989) and Man is not a bird (Dusan Makavejev, 1965).
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Principy alternativní stavby příběhů
Marinović, Ivan ; Bregant, Michal (advisor) ; Roraback, Erik (referee) ; Jech, Pavel (referee)
Během studií jsme se učili, jak porozumět pravidlům psaní scénáře a jak je aplikovat na tradiční strukturu dramatu. Krom uspořádání do tří aktů existují také alternativní epizodické způsoby konstruování vyprávění s odlišnými pravidly. Přesto řada úspěšných epizodických filmů stojí na tradiční trojaktové stavbě. Mým cílem bylo popsat principy prolínání struktur a zkoumat, jak jsou uplatňovány v režijním zpracování filmů vysoké umělecké kvality. Ve čtyřech současných revisionistických westernech byly nalezeny čtyři možné principy, které je možné uplatnit také při psaní scénářů pro filmy jiných žánrů. Tyto filmy ukazují, jak je možné se vyhnout scenáristickým klišé a zároveň potvrzují, že aktuální sociální témata mohou být zkoumána v rámci žánrových filmů, o které masové publikum stojí.
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Road Movie
Kajánková, Lucia ; Ryšavý, Martin (advisor) ; Jech, Pavel (referee)
The thesis devotes itself to the analysis of the road movie film genre, restricted to American cinema, that has been the primary ground of the genre since its establishment in the late 1960's. It presents detailed characterization of its sources and typical traits, summarizes its historical development and analyses its attributes, components and techniques, using examples from actual road movies. The thesis' focus is especially directed at the character and the generic protagonist twosome model of the road movie - the breakdown provides typology of characters and their relationships, as well as derives sub-caterories of the genre, while as resolution identifies the basic core characteristics of the protagonist(s) in their being an outsider. This key determination has its wide spectrum spread across the genre's history, as exemplified by films, that were employed for the protagonist sorting. The complex exploration of the road movie genre, with focus on the character, provided the basis a tools for a separate analysis of a specific breaking point in the development of the genre - the introducing of characters, whose genre typical outsider definition is bound is hardwired in their sexual identity. The historical moment is the start of the 1990's, when the films Thelma & Louise (1991), directed by Ridley Scott with the screenplay by Callie Khouri, Gus Van Sant's My Own Private Idaho (1991) and The Living End (1992) by Gregg Araki emerged. A case study is devoted to each of the films, focusing on their treatment of the road movie genre and the significance of the radical innovation in protagonist designation, the protagonists being women in the first film, homosexual men in the two others.
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