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A modern tragedy in the movies of Romanian "new wave"
Omerzu, Olmo ; Bouda, Marek (advisor) ; Valak, Radim (referee)
A modern tragedy in the movies of Romanian "new wave"
The death of tragedy?
The text questions the concept of "death of tragedy" and tries to apply classic rules of tragedy on the movies of Romanian ?new wave?, particularly in the film Death of Mr. Lazarescu by director Cristian Puiu.
The base of the thesis follows the idea that despite the changes in theoretical settings (from ancient Greece till today), the
basic view of the world hasn´t change so much that it would be impossible for us to go trough tragic experience.
The analysis of films focuses on the basic themes and elements associated with the ancient tragedy (such as tragedy and myth, catharsis, tragic hero, tragic conflict ...) and considers their possible existence in today's world which the modern tragedy should have reflect.
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The Meaning of the Image
Ghebremichael, Asmara ; Bouda, Marek (advisor) ; Blaževič, Jasmina (referee)
This work concerns the idea of the image in contemporary philosophical thought. The author surveys various theories on the meaning of the technical image in society in order to determine her own relationship to the image as a contemporary film director. These theorizations of the ?image? will not distinguish between still or moving images, a discussion of why this is so will occur.
Three theorists provide a framework to think critically about the image. First, the ideas of Vilem Flusser in his 1983 essay Towards a Philosophy of Photography provide a pessimistic view of the technical image as responsible for the robotization of society. His ideas are contrasted to those of Roland Barthes in his 1981 essay Camera Lucida: Reflections on Photography. Barthes provides a more optimistic and humanistic perspective on the relationship between human beings and their photographs. The most recent theoretical work published in 2003, The Future of the Image by Jacques Rancierre will bridge the works of Flusser and Barthes and introduce Godard to our discussions.
Both the writings and films of Godard will be discussed in the last chapters. As both theorist and film director, Jean-Luc Godard is a useful example to explore the meaning of the image for a film director. The conclusion will offer the author?s own position on the subject.
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Antonin Artaud and film
Hansalová, Hedvika ; Bouda, Marek (advisor) ; Šerý, Ladislav (referee)
Práce se zabývá vztahem Antonina Artauda k celé oblasti filmu v jeho počátečním období, který nenašel naplnění. Neexistuje žádný dokončený a definitivní tvar ve smyslu filmového záznamu, o který by bylo možné se opřít. Charakter Artaudových vizí a výlučnost jeho myšlení znemožnili realizaci čehokoliv, o co usiloval. Je to práce o tom, co není...
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Films on the Road
Pachl, Jan ; Bouda, Marek (advisor) ; Valak, Radim (referee)
This diploma is focused on a film genre ROAD MOVIES, from its roots in a literature, trough the motorcycle films in the fifties, hippies films in the sixties, to the establishing of the genre in the seventies till present. Simultaneously with the genre the text goes trough the symptoms of the road, its spiritual proportions and possible reasons why to ger on the road. As the main genre directors are mentioned: Bob Rafelson, Wim Wenders, Jim Jarmusch. The script is focused on cultic pictures as The Wild One, Easy Rider, Five Easy Pieces, Dead Man or Paris Texas. There is also a reflection of present Road Movies included.
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Bergman´s melodrama
Omerzu, Olmo ; Bouda, Marek (advisor) ; Marek, Petr (referee)
in this paper, the genre of melodrama is discussed through analysis of four Berman´s films which are thematically as well as formally connected. The films chosen are Scenes from a Marriage, From the Life of the Marionettes, Summer with Monika and Saraband.
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