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Martyrs of the genre Traps
Křenková, Jarmila ; Čeněk, David (advisor) ; Hanáková, Petra (referee)
Bachelor's thesis Martyrs of Genre Traps deals with the analysis of Pascal Laugier's film Martyrs as a unique transgressive work of art, which, owing to its split between genre and non-genre, expands even into very diverse discourses. It establishes its position within the horror as a crisis narrative, the forming of which is influenced by circumstances of the period, and puts it in context of contemporary European horror and integrating creative vision. The analysis itself then focuses on an innovative approach to genre structures defined by the method of radical dramatic cuts, which lies in precise fulfillment of horror subgenre conventions and their subsequent alterations, due to which the conventionalised genre rediscovers its subversive potential. Keywords Horror, Martyrs, Pascal Laugier, Genre, Convention, Inovation, Crisis narrative, Gore film
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The Visual Antropology Method in Eduardo Coutinho's Documentary Films
Trsková, Klára ; Čeněk, David (advisor) ; Bláhová, Jindřiška (referee)
The aim of this thesis is to present the visual anthropology method and apply it on the conrete films. In te first part is briefly introduced a brazilian documentarist Eduardo Coutinho (1933-2014) and his art work, the second part is devoted to the development of the visual athropology method and it's current state. It establihes the researched terms of the body, orality and religion which serve as tools for the film analysis. In the third part the method is then applied to four selected films from different creative periods of Eduardo Coutinho: Cabra marcado para morrer (1964-1984), Boca de lixo (1992), Edifício Master (2002) and Peões (2004).
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Film Education as a part of Basic Art Education
Forejt, Matěj ; Czesany Dvořáková, Tereza (advisor) ; Čeněk, David (referee)
Due to the presence of the optional Film/audiovisual education subject in the Framework Educational Programme for Basic Education and Secondary General Education, the interest in film and audiovisual education in the Czech Republic has been so far focused on primary schools and grammar schools. No attention has been paid to primary art schools, where filmmaking practices have been continuously expanding for many years, especially during art lessons. The primary aim of this thesis is to chart the issue, to examine the reality of primary art schools in detail, to uncover the motivation of teachers to teach the filmmaking and to observe potential connections between personal experience of a viewer and teaching. Considering the lack of secondary sources the author of this thesis approached the research using a sociological methodology. The three-step-research involved a quantitative study in a form of a questionnaire survey, an additional questionnaire with open-ended questions and personal interviews with selected respondents. The research sketched out the history and development of filmmaking in Czech primary art schools, the impulses leading the teachers to start with the filmmaking at school and the particular forms of such filmmaking. Also certain obstacles and limits of filmmaking and film and...
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Czech & Slovak horror: (the) spreading of the genre in years 1990 - 2015
Krejčířová, Anna ; Hanáková, Petra (advisor) ; Čeněk, David (referee)
The topic od this bachelor thesis is the occurrence of horror film's structures in the Czech and Slovak cinema. The aims are to research and describe mechanisms of international genre concept's transition into the national cinema. I focus on the film production since 1990 up to the present, which gained horror label (or the labels of horror genre hybrid) by its distribution markers, critical analysis or spectators' response. On the representative examples I demonstrate in which form are spreading the structures adopted from abroad into local movies and how they affect movies' meaning in official culture. On the other hand I follow often ignored genre communities, which take conflicting positions towards the national cinema.
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Don't Leave Me: Narratological Film Analysis
Horyna, Martin ; Svatoňová, Kateřina (advisor) ; Čeněk, David (referee)
The aim of Don't Leave Me: Narratological Film Analysis thesis is to determine through analysis of the aforementioned film the techniques of documentary filmmakers being used to lead the viewer to discover a coherent plot structure in the content, and to ascertain whether DON'T LEAVE ME systematically uses some methods of the classical film. Texts of Bill Nichols were used to describe the rhetorical strategies of documentary films. The selected theoretical basis of the narrative analysis itself is neoformalism (David Bordwell, Kristin Thompson, Barry Salt) and cognitive narratology (Edward Branigan), which served to define documentary films with a high degree of narration. The study of motivations and development, time and space in the film was employed in order to describe narrative strategies chosen by the filmmakers. The analysis has proved that DON'T LEAVE ME structures the protagonists' action and speech as a story. Furthermore, it was shown that the analysed film can be classified as a documentary film with a high degree of narration and that it systematically utilizes numerous methods of the classical film. The contribution of this thesis is to demonstrate a specific manner of analysing the narration of (highly) narrative documentary films through narratological means; it is thus possible to...
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Neoformalist analysis of the move I love you, I love you
Sedláčková, Dagmar ; Čeněk, David (advisor) ; Svatoňová, Kateřina (referee)
(in English): The subject of this bachelor thesis is the neoformalist analysis of the film "I love you, I love you" by the French director Alain Resnais. The main aim is to show through neoformalist analysis how the film works with the concept of memory, recollections, and non-chronological narrative. The key element of this approach is the recognition of the dominant element of the film, which in the case of "I love you, I love you" is Bergson's concept of time and memory. The thesis consists of two parts; the first section is focused on cultural and economical context, the major part is a neformalist analysis. !
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Neoformalist Film Analysis of Now Showing
Poul, Hubert ; Svatoňová, Kateřina (advisor) ; Čeněk, David (referee)
The aim of this bachelor thesis is to analyze within an appropriate context a filipino film Now Showing made by Raya Martin in 2008. In the first part we shall evaluate adequate theoretical background and pinpoint the methodology of this thesis. For the historic context I will be using the New Film History approach, specifically the distinction between aesthetic, economic, technologic and social history proposed in the book Film History: Theory and Practice by Douglas Gomery and Robert C. Allen. Regarding the film analysis we will use The Neoformalist film analysis defined by Kristin Thompson in her book Breaking The Glass Armor: Neoformalist Film Analysis. The objective of the analysis is to confirm that the main dominant of the film structuring all of the formal elements is the principle of colission. The film is shattered into individual segments, which are in opposition to each other. The colission itself is the main constituent of it, and significantly contributing to the film self-reflexivity. The analysis of narative and stylistic aspects succesfully proved the hypotesis of collission as the main dominant which subordinate all the formal elements and structures.
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The Phenomenon of Zombies in Films by George A. Romero
Čada Wernischová, Nelly ; Čeněk, David (advisor) ; Svatoňová, Kateřina (referee)
(in English) This work deals with the phenomenon of zombie in films by George A. Romero. Its objective is to prove that, although the characteristics of the phenomenon underwent significant change within individual films by this director, it still preserved the basic metaphoric function it had already at the time of its origination in Haiti in the 17th century. . The analytical part, in which three selected zombie horrors by George A. Romero (Dawn of the Dead, Land of the Dead and Diary of the Dead) are discussed, is based on the methods of neoformalist analysis. Based on the analysis of individual films, I have proved that the zombie phenomenon in Romero's films works, the same as it does in Haiti, as a metaphor of slavery with this metaphor being varied depending on the issues that become the current topic of each of the films whose actual aim is to criticise the contemporary society.
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Contemporary Efforts for Film Educating at Primary and Secondary Schools
Forejtová Lipovská, Alexandra ; Czesany Dvořáková, Tereza (advisor) ; Čeněk, David (referee)
This bachelor thesis focuses on effort to promote film/audiovisual education in the frame of the general education. It tries to map out the condition of the film education in our country in both historical and contemporary context. The major part is devoted to the situation in the last 13 years when things started to improve. The work is divided into 4 chapter, the first is dedicated to thorough historical reception of film education in our country where I focus on school film education, children's film clubs, amateur movements but also the European context (albeit marginally). The first chapter covers the period from the beginning of cinema to the 80s of the 20TH century. The second chapter reflects the situation of the film education after 1989 using the best examples of the strongest mediator of the film enlightenment of those times - AČFK and its activities. Naturally I will get to a very ambitious project in the field of film education - canon of the film - through Jiří Králík (former deputy of ACFC). The third chapter analyzes in detail the genesis of the inclusion of F/AV to general educational programs of Czech schools and observes the attitude of the government entities such as the Ministry of Education or Ministry of Culture. The third chapter is followed by the last part of the thesis...
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Vít Olmer: landmarks of the Czech exploatation - a disorted view of postcommunist society
Blažek, Jiří ; Čeněk, David (advisor) ; Hanáková, Petra (referee)
The following bachelor thesis focuses on film exploitation as a tabloid phenomenon; particularly examines the tabloid tendencies of productions of Vít Olmer in the years after the Velvet Revolution between 1990 and 1995 in Czech cinema. His work reflects the new creative democratic circumstances that arose after November 1989. Olmer effectively used these circumstances to his benefit and as a result he became one of the most productive personalities of the mid-90s. The first part of the thesis consists of a mapping of the status of exploitation film in foreign academia. Based on Pierre Bourdieu's concept, it explores how the logic of "pure taste" influenced the approach to the "tawdry cinema", its research, and last but not least, an attitudes of researchers of (exploitation in) cinema themselves. It then provides an overall view on allied difficulties accompanying exploitation film; the scattered identity unfounded by virtually no theoretical basis remains an essential problem of the analyses of exploitation cinema in the context of film studies. The second part of the thesis expounds a rudimentary nature of the exploitation phenomenon with the contribution of sensationalism, theoretical model used mainly in a media studies. The part proves close relation between the sensationalism, a paradigm...
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