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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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Be a witness: The turning points of our history viewed by Pavel Koutecký
Strachotová, Alžběta ; Čeněk, David (advisor) ; Přádná, Stanislava (referee)
The following bachelor's thesis deals with the work of Czech filmmaker Pavel Koutecký and it focuses on several of his films on the modern history of our country. The first part outlines the entire picture of his work and highlights the diversity of selected topics and attitudes. The main part adresses films in which the director was focused on our history, while those are viewed in the context of documentary and historical film. Therefore the theoretical chapter deals with the definitions of the documentary and historical film and it mentions the main theoretical questions dedicated to those two issues. Chosen films are then analyzed not only as separate entities, but also the context of documentary and historical films is included. In all the works the thesis notices concretely chosen topics and how they are conceived as well as the visuality, animation techniques and collages, which Pavel Koutecký used. It examines thus the specific approach of Pavel Koutecký to the history of the state and the people experiencing the revolutionary moments. The final chapter summarizes all the knowledge, identifies the common denominators of the works and describes the documentary style of Pavel Koutecký.
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Narative and visual specifics in the work of Robert Lepage
Stuchlý, Aleš ; Arbeit, Marcel (advisor) ; Čeněk, David (referee)
This thesis deals with the work of the Canadian filmmaker, playwright, actor, scenographer and theatre director Robert Lepage, who has until now shot five films during the period of 1995-2003. Systematic and detailed analysis of the chosen topic is accompanied by excursions into the cultural and political context of the Québec province, as Lepage's films are inherently connected with it. Methodologically the thesis is based on formalist analysis and contextual interpretation of Lepage's films. To describe Lepage's narrative style, fragmental and complicated in organization of time and space, the author has come up with a few unorthodox terms (such as "cubist narrative"). The aim of each chapter is to point out that in Lepage's films formal techniques are closely bound with the very nature of his works: searching for Québec's identity and the desire to approach the truth about man in general. After having read this thesis, the reader should conceive Robert Lepage as an author who has gained worldwide popularity in the field of theatre and opera, whose films, however, are still waiting (especially in Europe) to be recognized.
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The first gore scenes in the American mainstream cinema
Šrajer, Martin ; Čeněk, David (advisor) ; Přádná, Stanislava (referee)
The Bachelor's Thesis The First Gore Scenes in the American Mainstream Cinema analyses the cinematography of the USA in the sixties through the topic of film violence. Its primary concern are explicitly violent scenes classified as "gore". Their emergence was connected with deeper social and industrial context, shaped since the end of the Second World War. The goal of the work is to describe factors which were crucial for the shift to a more graphical depiction of film violence and to present how these factors influenced Bonnie and Clyde and The Wild Bunch, two movies chosen for case studies.
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Film Screenings at CVUT
Henzler, Richard ; Czesany Dvořáková, Tereza (advisor) ; Čeněk, David (referee)
Title: Film Screenings at ČVUT Author: Richard Henzler Department: Film Studies Department, Faculty of Arts, Charles University in Prague Thesis supervisor: Mgr. MgA Tereza Czesany Dvořáková The thesis presents a history of film screenings at ČVUT using the method of oral history. The aim of the thesis is to present the operation of the film club in years 1984 until 1990. Interviews with the founders of the Film club Richard Kohout, Martin Řezníček and Jiří Neuman were used as a primary source. They were complemented by information obtained from the club's internal records and by contemporary newspaper and literary accounts. The main contribution of the thesis is the fact that this topic has not yet been processed and the thesis can be thus used as a basis for further research in the field of oral history and history of film. The theoretical part of the work introduces the method of oral history, its methodology, advantages and shortcomings. The following chapter summarizes a number of projects, both Czech and international, which are using the method of oral history and whose primary interest lies within the field of film studies. The practical part gives a chronological account of the operation of the film club and is supplemented by information from the interviews and from the records of the...
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Jihlava IDFF: festival identity as based on the network construction
Hlubek, Jan ; Čeněk, David (referee) ; Hanáková, Petra (advisor)
This thesis analyses the International Documentary Film Fest ival Jihlava from the point of view of the actor-network theory. Its focus is to understand various ways the festival (as unique and indispensable event in the cultural space) const ructs its identity. It suggests that the evolution of the Jihlava IDFF is possible only due to its formation as an actor-network - heterogeneous complexity of people, things and their interact ions. Network's capacity of effective transformations allows the festival to position itsel f on the domestic festival map and integrate successfully to the international film festival ci rcuit. The festival actor-network aims mainly to sustain and ampli fy its position of an unreplaceable cultural institution. Analogous to another festival networks, Jihlava IDFF t ries to produce certain cultural value - through the original agenda-setting, programming and the creation of a singular meeting point. And the identity of the Jihlava IDFF can be seen as the result of this network's complexity.
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Typology of Indian character in Mexican fiction film
Čeněk, David ; Opatrný, Josef (advisor) ; Klimeš, Ivan (referee)
Záměrem této práce je upřesnit a definovat jedno z klíčových témat mexického filmu obraz původního indiánského obyvatelstva, které nicméně není příliš reflektováno v odborné literatuře. Indiáni 1 jsou potomci nám známých původních obyvatel amerického kontinentu, jejich obraz tvoří nedílnou část uměleckých projevů všech oborů. V současnosti existující kultura v Mexiku je směsí evropských a indiánských vlivů. Nativní obyvatelé jsou její nejpůvodnější součástí. S příchodem kinematografu se film stal nejrozšířenějším médiem, prostřednictvím něhož se člověk mohl vyjádřit, a prvními tématy byly spíše obrazy z každodenního života. Postupně se zajímavým námětem stávala i historická paměť národa, která je spjata s problematikou, jak většinová společnost vnímá indiánské komunity.
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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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Paris, I Love You
Jindřichová, Markéta ; Bendová, Helena (advisor) ; Čeněk, David (referee)
JINDŘICHOVÁ, M.: Paris, je t'aime. Thematic study. Bachelor's thesis. Academy of performing arts in Praque. Film and TV school. Audiovisual studies. Supervisor Mgr. Helena Bendová.
Key words: Paris, je t'aime, omnibus feature, representaion of city in motion pictures, authorial style, french cinematography, thematic study
My bachelor's thesis deals with a thematic analysis of a omnibus feature called "Paris, Je T'aime". The basic concept of this movie is that in every short story there should appear some love theme (in any form). The text contains an interpretation of partial fragments (both content and formal) as well as interpretation of the whole film itself. I am comparing different ways of how directors are dealing with the main motive in the same way as transitions between each narratives are resolved. Each story takes place in one of the Parisian quarters, Arrondissements as they are called, and - with regards to the main concept ? handles love in it's own way. Each director coped with the short footage of six minutes differently. Some stories are brilliant, same failures. In the end the whole movie looks like an incoherent anthology of unrelated pieces. This film misses an authorial overview which would offer some meaning to these fragments and would create a compact piece.
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