|
| |
|
| |
|
|
Film as an organism and as a machine
Šindelka, Marek ; DUFEK, Jiří (advisor) ; BERNARD, Jan (referee)
Abstract
The thesis focuses on comparsion of theoretical aproaches of Sergei Eisenstein, Dziga Vertov and Andrei Tarkovsky, as a three completely different positions on a scale between organic and mechanic film. Each of these positions has its own specific temporality, according to editing method used by the artist: Eisenstein's dialectic montage in the mode "human-nature", Vertov's dialectic montage in the mode "eye-material", and Tarkovsky's antidialectic montage of self-generating film structure based on time pressure within the shots.
|
|
|
The Flames of Royal Love
Bokšteflová, Lucie ; BERNARD, Jan (advisor) ; MRAVCOVÁ, Marie (referee)
The subject of this thesis is a project by film director Jan Němec (born 1936) whose intent was to create a film adaptation of the novel The Sufferings of Prince Sternenhoch written in the 1920s by writer and philosopher Ladislav Klíma (1878-1928). The thesis presents individual segments of this project - from the source material to the script and directorial concept created in the '60s, through individual phases of the film's development and production in the '90s to reactions after its release in 1991. Emphasis is placed on the thoughts and attitudes of Němec himself. The thesis' main sources were the archives of Barrandov Studio as well as interviews with Němec, both public and non-public. The goal of the thesis is to convey information about the project as a whole and thus provide a deeper insight into this particular piece of Němec's creative output.
|
|
|
Reflection of the personality and works of Franz Kafka in the Czech cinematography
Císařovská, Natálie ; BERNARD, Jan (advisor) ; ADLER, Rudolf (referee)
In my bachelor diploma work I m making a probe, how czech filmakers were reflecting personality and works of famous jewish writer from Prague Franz Kafka. Until 60 s he was forgotten and ignored so it was the generation of the New Wave who has discovered him and was inspirated by his visions. The theme Kafka was allways kind of a mirror of political and social climate in the socialistic Czechoslovakia. In 70 s and 80 s Kafka was forbidden, and we cand find him just in the amateurish movies or in the exile cinematography. Just after the Revolution in 1989 Kafka is back and inspires filmakers with the whole freedom...
|
|
|
Russian cinematographers of the 70`s and 80`s of the 20th century
Souček, Prokop ; SMUTNÝ, Vladimír (advisor) ; BERNARD, Jan (referee)
In this diploma thesis I summarize and analyze information about cinematographers of the 70`s and 80`s of the 20th century. I deal with the basics of theory in the context of the period, as well as artistic relationships, and detailed analysis of specific films, with the target to explain the innovative visual procedures established in this period in Russia. I aim to show the influence of the unique production of the period on todays work by analyzing given means of expression.
|
|
|
Women in the "European journey film" - a journey to oneself?
Ziegler, Fiona Gelsomina ; BERNARD, Jan (advisor) ; ŘEZNÍČEK, Martin (referee)
In this thesis, I aim to examine the ?female character based narration? of Agn?s Varda?s films Cléo from 5-7 and Vagabond within the context of the ?European Journey Film? and within examining my own diploma film, that I shot as a 30 minute long journey film in Israel. Through the analysis of Varda?s films, I aim to gain a better understanding of how to develop and deal with the internal and external transformation or non-transformation of a main character throughout the narration, its construction, theme and film-language.
After opting for defining the sub-genre of the American Road Movie as European Journey Film, I?ll analyse a certain female perspective on the genre by analysing two films of Agn?s Varda?s by self-reflecting my own female character of my journey movie in the conclusion of this thesis.
|
|
|
Vratislav Effenberger's view of film
Strejcovský, Jan ; BREGANT, Michal (advisor) ; BERNARD, Jan (referee)
This thesis deals with a diverse relationship of Vratislav Effenberger to film. It describes the role, which he played in shaping the czechoslovakian postwar surrealism. On his only realized film "Study on the fraction of reality", this work demonstrates concrete methods, that he found substantial for the cinema.It follows his engagement in Czechoslovak film institute and analyzes his pseudo-film scripts issued in a book "Cynicism of life and brutality of reality". The aim of this thesis is to outline Effenberger's passion for film as a significant part of inexhaustible legacy of this yet unappreciated poet, art theorist, historian, screenwriter and the most important writer of Czech post-war surrealist generation.
|
|
|
Circus elements as transcendental tools in film
Popov, Dimitar ; ANGIOLILLO, Mary Carmel (advisor) ; BERNARD, Jan (referee)
From the very beginning, film announced its duality: the style of the documentary works of the film pioneers - the Lumi?re brothers, stood in
opposition to the illusionistic experiments of Georges Méli?s. As film
language developed, it became clear that film is a mimetic art in a sense
that it possesses the quality of capturing reality itself, which was one of
the reasons why so many people were obsessed by the silver screen. At the
same time the audience was equally overwhelmed by the modification of the
reality previously captured, into a deeper, less profane meaning. These
subtile modifications (misrepresentations) of reality in film, are a
prerequisite for conveying ideas that enrich the narrative and provoke the
audience. Transcendence is immanent to film, and film authors base their
personal style, their own credo, on experimenting, exploring, balancing
within and appreciating this quality. A bundle of tools had been invented
for this purpose, from composition of shapes to combination of colors, from
narrative to editing techniques. A complete and precise list would be hard
to deliver.
|
|
|
ANALOGIES BETWEEN INDIAN AND EUROPEAN AUTHOR´S CINEMA OF THE PERIOD 1960 - 1980
Rampal Dzurenko, Viktória ; BERNARD, Jan (advisor) ; ŠPAČEK, Radim (referee)
Indian Parallel Cinema is the mixture of Contemporary, Experimental and Art Cinema of India and always consist of low budget. Indian Cinema had started with its first silent film "Raja Harishchandra" in 1912. Indian cinema is often defined as Bollywood or Masala Films of India, since it is also the popular form with its ritual of song, dances and over-the-top melodrama. However, the 60s and early 70s were time of experimentation in the format of storytelling and form in Indian Cinema. Indian Parallel Cinema is a specific genre of Indian cinema which is known for its serious content, realism and naturalism, which reflected social and politics topics during those times. Indian parallel cinema represents a change of direction or a break with the traditional Indian cinema.
|
guest ::
RSS feed.