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Autobiographical elements in animated films of Czech female directors
Děcká, Eliška ; Hanáková, Petra (advisor) ; Laučíková, Ivana (referee)
This MA thesis analyses the use of autobiographical elements in animated films of contemporary female directors. The thesis employs data obtained from in-depth interviews with eight individual directors. As the main methodological tool for conducting these I used oral history. These data were further combined with the gender-specific textual analysis and interpretation of their films, regarding the main principles of animations studies. The goal was to reach a conclusion whether there is any inclination towards the use of autobiographical elements in animated films of Czech female directors. The thesis also contemplates the potential of animation studies in general and its effective use in connection with other academic disciplines. This approach leads towards obtaining findings, outreaching the mere sphere of animation and that may be enriching in the context of political-economic transformation after 1989 in Czechoslovakia/Czech Republic, for example. Keywords: animated film, autobiography, animation studies, gender, political-economic transformation after 1989.
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Czech film and culture magazines and its participation in spectator's formation, during 1918-1938
Lošťáková, Markéta ; Hanáková, Petra (advisor) ; Svatoňová, Kateřina (referee)
From the beginning of the 20th century culture magazines took significant part in creation and shaping of the emerging film audience. They become one of the film industry's major tools that attracted the viewers and held their attention. This thesis analyses the communication between the film magazines and their audience and study how the fans were motivated to keep on visiting the cinema. Various methods were employed in search of new subscibers: puzzles, polls, quiz competitions and price-stimulated adverts. Film magazines successfully used the considerable popularity of pulp fiction. In every issue the readers could find pulp stories in show business setting. What more, majority of the magazine articles were presented in the pulp fiction form. Fictionalized stories or tabloid news made use of the pulp plots. The articles of the "How I've become queen / king of silver screen" ilk were written as the examplery instructions for the wannabe-film star. Film journals encouraged those pipe dreams. Some of magazines lured the readers with the promise of actual film parts, others were satisfied with giving the advise on how to hit the screen. All this created a new role of reader construct: actor-trainee hoping to reach the stardome. Those who believed in magazine's promises were considerated lunatic by...
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Future families in the past tense: strategies of using home movies in documentary films
Rezková, Hana ; Hanáková, Petra (advisor) ; Svatoňová, Kateřina (referee)
Synopsis This thesis aims to define the basic strategies used to tackle and process home movie footage in compilation documentary films by Péter Forgács, Jan Šikl and Marek Šulík. It also aims to outline how these strategies influence and regulate the ways the historical period in question is communicated in these films. The source material of the home movie will first be discussed in its original family context as the product of a specific media memory practice that at the same time determines the rhetoric and aesthetics of this material. In the second part, the thesis will focus on two basic strategies for the use of home movie footage in these films. While the first strategy uses home movies to thematize and problematize the possibilities of historical representation, the second one exploits the mode of authenticity and strong affective potential of the home movie to block out active viewer engagement.
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The Screen of Laughter and Remembering: Cinematography and Post-Socialist Memory
Hladík, Radim ; Dvořák, Tomáš (advisor) ; Kusá, Zuzana (referee) ; Hanáková, Petra (referee)
THE SCREEN OF LAUGHTER AND REMEMBERING Collective Memory and Representations of State Socialism in Czech Cinematography This dissertation has very little to say about state socialism. Rather, it is a work about the memory of state socialism in the post-socialist Czech Republic, about the ways in which state socialism can be remembered in the present. From the perspective of collective memory, "it is not only the ancien regime that produced revolution, but in some respect the revolution produced the ancient regime, giving it a shape, a sense of closure" (Boym 2001, xvi). And there are indeed many, often conflicted modes of remembering this particular past. Françoise Mayer, for example, has identified several distinct types of remembering the "communism" in Czech society (Mayer, 2009). And her list is by no means exhaustive. At the centre of this treatise is the Czech post-socialist cinema. My dissertation thesis was prompted by the question of how cinematic representations bear on the collective memory of state socialism in the Czech Republic. . In the first chapter, I explore how cinema represents the past in comparison to historiography. In my work, it is evident that Czech cinema does not follow the epistemological criterion of referentiality that binds historians. A more important observation - and one...
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Interpretative strategies for the films with a low level of narration
Slováková, Andrea ; Kaňuch, Martin (referee) ; Hanáková, Petra (advisor)
Diploma thesis Interpretative strategies for films with a low level of narration have analyzed perception of mainly experimental films that are non-narrative or have a weak narration. Its goals were to articulate model of this perception and describe the main interpretative strategies. For defining a range of films for the research, firstly it is necessary to define key terms. Using theoretical knowledge and main characteristics of narrative as can be found in the works of the notable film theoreticians, especially Edward Branigan, David Bordwell, Carl Plantinga, Murray Smith, Seymour Chatman or Torben Grodal, I formulated definition of narrative film: The main feature of narrative film is continuity and time anchor (especially in relation to other events), organization of data that need to be related to each other in a recognizable way, which is based on causality. Active agents (living beings or other agents) have to be necessarily present and their actions include intentions and development towards the goal. The ordering of a narrative whole often includes beginning, middle and end, that together create a thematically and mostly (but not necessarily) also stylistically coherent unit. The definition of non-narrative film results from the notes excerpted from those texts of narratologists who take into...
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From genetic memory to electronic circuit: displaying body and corporeality in film form of screen dance
Španihelová, Magda ; Přádná, Stanislava (referee) ; Hanáková, Petra (advisor)
This thesis explores the various forms of the body and corporeality represented in the lesserknown film form called screen dance. This work focuses on the dancing body, which is transformed through performance. Two art forms are discussed in relation to each other - dance and film, and their mutual influence and connection. Focus is placed on the cultural context of the West. The thesis does not follow the chronological development of different dance styles; rather, it is divided into four categories of corporeality (the laboring, marked, repressed and disappearing body), which help to classify the different creative approaches to recording the body in motion and its various representations in film. The examined film material dates from the mid-1940's to the present. This work analyzes the various ways in which dancing bodies are portrayed in film, the new types of corporeality emerging in screen dance, and the symbolic and ideological values contained in film portrayals of dancing bodies.
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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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