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DSLR Video and its Impact on the Conventions in Filmmaking
Nuska, Petr ; Získal, Bohuš (advisor) ; Šlerka, Josef (referee)
The thesis deals with the involvement of digital single-lens reflex cameras (DSLR) with video-capturing capacity in documentary and ethnographic film, more particularly, it examines whether and to what extent these genres were influenced by a trend called DSLR revolution. The main contribution of the work is a qualitative analysis of the testimonies of ten filmmakers, who used DSLR cameras while working on their films during the years 2010-2014. The synthesis of this analysis is conceptualised as a reconstruction of the process of decision-making whether to use or not to use a DSLR camera, considering its benefits (affordability, technical and aesthetic qualities, compactness and simplicity) and its limits (ergonomics, visual artifacts, workflow limits). The reconstruction of this decision-making process is considered in the context of specific experiences of the participants and it focuses on the impact of DSLRs on filming workflow and final product. The final chapter deals with the DSLR revolution as a social trend which was stimulated by the influence of online communities of DSLR filmmakers who actively participated in the course of the revolution. Appendix of the thesis contains a brief description of the film projects of all participants and the model of the structured questionnaire used for data...
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Reflections on the Chechen War in Czech documenatary film
Chaloupka, Zdeněk ; Kratochvíl, Jaroslav (advisor) ; ŘEZNÍČEK, Martin (referee)
Bachelor thesis deals with the image of the Chechen conflict in the Czech documentary film in the 90‘s and tries to understand the environment in which this image was created. Much of the work is devoted to the social and political context of the time. This is especialy a formation of institutions after Velvet revolution such as People in Need and Epicentrum agency, which significantly contributed to the media interpretation of the conflict. Thesis also analyzes the television documentaries reflecting Chechen war in terms of content and tone. Finally considers to what extent was the message of the documentary film makers influenced by ideological attitudes and social order. The aim is to determine what factors influenced the final form of films and on what basis it was biasd to the on side of the conflict.
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Boredom in the film Untitled
Bernátková, Tereza ; Kratochvíl, Jaroslav (advisor) ; VACHEK, Karel (referee)
Based on a literature in the fields of psychology, visual anthropology and sensory ethnography the thesis examines boredom in film, especially the critical potential the boredom has. The key is the question, what happens in film if seemingly nothing is going on. Boredom in film is studied specifically on the example of Stephanie Spray's fims, anthropologist and filmmaker associated with Sensory Ethrnography Lab (SEL). Boredom is conceptualized as an interesting emotion encouraging sensing here and now. The thesis does not promote boredom, rather shows it as an sustainable approach towards audiovisual media and representation of the reality.
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The Box Full of Light
Přibylová, Květoslava ; RŮŽIČKOVÁ, Alice (advisor) ; ŘEZNÍČEK, Martin (referee)
In my thesis A Box Full of Light, Personality and Thoughts of Niels Bohr as an Inspiration for Science Documentaries, I look, as a documentary film director, at the basic principles and visualizations of the characteristic contemporary popular-science documentaries. I consider this form of documentary film for the most part bleak, often flat and lacking in any kind of progress. I am attempting to unravel where these tendencies come from and show, that they strongly relate to the general notion of science, which stands on the foundations of Newton-Carthesian paradigma. Especially in the area of ideals of measurableness, objectivity and mathematization. At the same time I also contemplate the relationship of knowledge and power, of science as a certain ideology and so also the connection between science documentary and ideological film.
In the second part of this thesis I look for inspiration for artistically more progressive, richer and more multi-layered documentary films about science. I find this inspiration in the thoughts of the Danish physicist and philosopher Niels Bohr.
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The Main Dramatic Conflict In the Contemporary Czech Film
Štěpánková, Darina ; TRAJKOV, Ivo (advisor) ; Mašín, Tomáš (referee)
Thesis named The Main Dramatic Conflict In the Contemporary Czech Film analyzes what is the impact of the position of the main dramatic conflict in the structure of the five full lenght czech films made in 2014. The films are The Way Out, Fair play, Nowhere in Moravia, Three Brothers and the documentary film Into the Clouds We Gaze. The work is divided into two main parts. The firs part summarizes theoretical resources relating to the problematic of the main dramatic conflict and it also includes historic point of view. The second part appertain to five practical film analyzes that are based on films together with a screenplays. It reveals the changes that was made during the editing process and the way how they impacted the story structure.
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PROMISED LANDS: Susan Sontag's Documentary Work In the Context of Her Essays
Košař, Lumír ; RŮŽIČKOVÁ, Alice (advisor) ; ŘEZNÍČEK, Martin (referee)
The aim of this thesis is to present the lesser known documentary work of the American writer Susan Sontag. This is done by a film analysis of vehicles of expression used in the documentary film Promised Lands. Susan Sontag´s methods are presented and explained by her literary. Attention is being paid particularly to the method chosen by Sontag of displaying the wartime suffering.
The thesis also presents the literary works of Susan Sontag and her relationship to film, and offers an insight into the situation during the Yom Kippur War.
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Jihlava International Documentary Film Festival’s Industry Programme and Its Benefits For a Producer
Šilarová, Hana ; ŠVECOVÁ, Marta (advisor) ; Tabakov, Diana (referee)
The present thesis explores the industry programme of the Jihlava International Documentary Film Festival, as well as the ways producers benefit from it. This festival has a long-term tradition organizing programmes for film professionals. The individual components of the programme are conceived, respectively, for participants of various professions, for instance festival directors or film directors, with its main section, Emerging Producers, aimed at starting European producers.
The first part of the present work describes the history of Jihlava IDFF and the individual sections of its industry programme, while the second part compares the festival to two other ones of similar size, namely CPH:DOX and Visions du Réel Nyon, whose conceptions differ to a significant extent from Jihlava’s. The last section of the thesis, drawing in part on online questionnaires administered to Emerging Producers participants and to the producers of films competing at the festivals in question between the years 2012 and 2016, examines the contribution industry programmes bring to producers.
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