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Film festivals in relation to the margins of cinema
Slováková, Andrea ; Svatoňová, Kateřina (advisor) ; Bláhová, Jindřiška (referee) ; Bilík, Petr (referee)
Disertační práce Filmové festivaly ve vztahu k okrajovým částem kinematografie 2016 PhDr. Andrea Slováková Abstrakt Disertační práce Filmové festivaly ve vztahu k okrajovým částem kinematografie se soustředí na prezentaci především experimentálních filmů na filmových festivalech. Práce analyzuje především specializované přehlídky experimentálního filmu, uvádí historický exkurz do prezentace filmové avantgardy ve vztahu k fenoménu filmových festivalů. Metodologicky však vychází z přístupu interdisciplinárně propůjčeného z politických věd, diskurzivního nového institucionalismu, který adaptuje do pole festivalových studií. Zkoumá, jak se diskurzivní moc uvnitř festivalové organizace utváří a posiluje, a také k čemu slouží. Zavádí koncepty zastřené a průzračné diskurzivní vrstvy, mezi nimiž je argumentační vrstva, která mnohdy obsahuje i argumentační fikce. Část diskurzivního působení, resp. moci festivalové organizace slouží k jejímu ovlivňování kulturního pole, značná část však slouží zachování samotné organizace. Zkoumá, které části organizace jsou klíčovými uzly ve smyslu produkce diskurzivní moci. Na diskurzivní moc festivalů prezentujících experimentální film se dívá z hlediska procesů a struktury uvnitř organizace.
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Government support of film industry in Czech Republic and its reflection on quality of Czech film made in the first decade of 21st century
Dočkalová, Tereza ; Czesany Dvořáková, Tereza (advisor) ; Slováková, Andrea (referee)
The thesis presents system of state support of Czech film industry after 1989, it focuses on operation of The Czech State Fund for the Support and Development of Czech Cinematography ("Fund") in years 2005 - 2009. The aim of the thesis is to present complex information on what type of films (feature, documentary etc.) have been supported by Fund, whether and how is the amount of support related to commercial potential of the film, whether and how much the amount of support affects the viability of the film, whether is the portfolio of films supported in the year related to the amount of ňňFund's incomes or to composition of the Fund Board. For the use of the thesis there has been made a comprehensive summary of all projects supported by Fund. It contains information about producer, director, footage, year of premiere and type of the film. Part of the thesis is formed in comparing charts and summary tables. The thesis is based on primary sources as Annual Fund reports. Other more general chapters about forming legislative structure of Czech state cinematography support are based on relevant laws. Chapter focused on distributional questions is also included. It is based on data of Czech statistical office and Union of Czech film distributors. Powered by TCPDF (www.tcpdf.org)
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Interpretative strategies for the films with a low level of narration
Slováková, Andrea ; Kaňuch, Martin (referee) ; Hanáková, Petra (advisor)
Diploma thesis Interpretative strategies for films with a low level of narration have analyzed perception of mainly experimental films that are non-narrative or have a weak narration. Its goals were to articulate model of this perception and describe the main interpretative strategies. For defining a range of films for the research, firstly it is necessary to define key terms. Using theoretical knowledge and main characteristics of narrative as can be found in the works of the notable film theoreticians, especially Edward Branigan, David Bordwell, Carl Plantinga, Murray Smith, Seymour Chatman or Torben Grodal, I formulated definition of narrative film: The main feature of narrative film is continuity and time anchor (especially in relation to other events), organization of data that need to be related to each other in a recognizable way, which is based on causality. Active agents (living beings or other agents) have to be necessarily present and their actions include intentions and development towards the goal. The ordering of a narrative whole often includes beginning, middle and end, that together create a thematically and mostly (but not necessarily) also stylistically coherent unit. The definition of non-narrative film results from the notes excerpted from those texts of narratologists who take into...
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