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Historical roots of the conemporary minimalistic cinema
Böhm, Michal ; HOLÝ, Zdeněk (advisor) ; BOUDA, Marek (referee)
Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century.
Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether.
The aim of this work is to analyze those historical cinema tendencies that bear most resemblance to the modern style of minimalism. I consider these films (and styles) to be the most predetermenative to the style of minimalism: Italian neorealism, spiritual work of Ozu and Bresson, experimental structural movies, the cinematic masterpiece Jean Dielman, 23 Commerce Quay, 1080 Brussels from Chantal Akerman and Antonionis movies with their narative structure.
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The way to widescreen cinema
Matoušek, Philip ; SMUTNÝ, Vladimír (advisor) ; MACÁK, Jiří (referee)
This thesis looks at the development of widescreen cinema and tries to describe the main steps in its development. I lay the main emphasis on the time of the beginning of cinema at the end of the 19th century and the establishing of the norm of 35mm film, then on the late 20s, where this norm was almost transformed into a new norm of a wide format, and eventually the implementation of a new norm of widescreen cinema in the 50s.
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KYI SOE TUN within Myanmar Cinema across transition
Hsu, Khin Khin ; JANEČEK, Vít (advisor) ; BENDOVÁ, Helena (referee)
My paper is about successful director U Kyi Soe Tun who is still a respectful filmmaker in Cinema industry. In this paper, it can study why and how he got success within Myanmar Cinema across the transition. It is revealed who are the most responsible people who made Burmese Cinema became fall apart.I want my paper to be recoded for Burmese film industry. My thesis will be reflected on Burmese Film industry condition which got worst under government’s control and never get better the quality of art in films. until after becoming a democratic country since 2010.Through my paper, I am sharing the lives of filmmakers and the knowledge of making films to the people.
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Béla Balázs Studio
Nemes, Gyula ; RŮŽIČKOVÁ, Alice (advisor) ; KUBICA, Petr (referee)
BBS was a unique production company focusing on poetic, dokumentary and experimental films with a special production system. Most important directors were: Huszárik, Toth, Szirtes,Gazdas,Bódy,Erdély,Szabó
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Golden Prague
Litschová, Karolína ; KLIMEŠ, Ivan (advisor) ; MRAVCOVÁ, Marie (referee)
This work deals with patriotic symbols which have been processed in feature films in the occupation period 1939- 1945, with emphasis on the symbol of Prague. Prague was sometimes used only as a scene, but for example in the film Pantáta Bezoušek it has become the theme of the whole film. It should be noted that these films which we perceive rather sentimental now, had a big own role and gave hope at the past time. Against these films I put in contrast the German film The Golden City which shows Prague as a city full of corrupted people and pitfalls.
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Elements Of The Road Movie Genre Focusing On The Theme Of Family In Contemporary Cinematography
Honzková, Aneta ; DUFEK, Jiří (advisor) ; MRAVCOVÁ, Marie (referee)
In the bachelor thesis I am focusing on the modifications and use of the road movie genre focusing on the theme of family.
Road Movies have variety of forms, but they all have one exact rule - moving from point A to point Z. What is going to happen on the road, that is unknown. I will try to demonstrate - on the examples of contemporary road movie - how our generation is losing conslusions, dreams and goals. What do we want, when do we want, why do we want? What are we searching for. Our generation is led to reach the most in the minimum of time. The most as fast as possible.
It only leads to the rebelion, we are becoming the same anti-heroes as we know from the road movies. And we are getting on the road, searching for that "something" that will give us the meaning of our lives.
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Music as a Part of the Inner World of film
Šec, František ; BAGDASAROV, Georgy (advisor) ; ČENĚK, Jan (referee)
This thesis deals with the use of music, a factor which strongly affects the viewer's emotions. This is particularly true with respect to its position relative to the image - an important factor affecting its functioning in the film. I start with the theoretical works that analyze the problem, how the viewer in the cinema hears the sounds and what impact it has on their different positions to the image. Principles of film music also influenced the long-term development of cinema. This process was accompanied today's over-use of music. In many cases, the authors ignore the consequences caused by its position. Specific examples of films will help us understand the whole issue. The position of music is not always easily determinable. Work will help us understand the importance of integrating musical part in the film. If music is sophisticated and connected with the world of film, the viewer can concentrate and perceive the film as art.
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Experimental film in Buenos Aires since 2001
Moralesová, Alexandra ; POSPISZYL, Tomáš (advisor) ; ČENĚK, David (referee)
Experiment in any art discipline attracts attention and is associated with the beginnings, immaturity, and experiencing the new. If in the 21st century an experimental tendency is emerging in film, a medium and discipline considered to be exhausted and in decline, it is unsettling.
In Argentine film, experiment is first mentioned in connection with the non-conformist art scene of the late 1960s and early 1970s. Filmmakers Narcisa Hirsch and Claudio Caldini are representatives of that decade; they are also witnesses who connect this "first" era with the first and second decade of the 21st century, since they are, once again, among contemporary Argentine artists who turn to film as the medium for experiment.
Whether or not it is possible to talk about a tradition of experimental film in Argentina is not as substantial as (acknowledging) the conditions which accompanied its rise in the two periods mentioned. The 1970s were a period marked by the regime of military dictatorship. The year 2001 represents a turning point in which economic, political and social crisis erupted. In both instances, the circumstances wholly pervaded the life of the society and its art and can be seen as critical. Whether crisis creates the potential for experiment is an open question underlaying reflections on the contemporary possibilities of experimental film and art
in general.
The present work aims to compare the wider social and cultural conditions and creative and production strategies of filmmakers in the 1970s with the conditions and strategies of the filmmakers working after 2001 in Buenos Aires. Furthermore, with regard to the expansion of the audiovisual scene and its transformation into the field of arts of the moving image, it proposes to look at contemporary experimental film in Argentina through the practices of authors from different fields of art such as Claudio Caldini, Pablo Mazzolo and Andrés Denegri.
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