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The Language of Filmic Dreams
Hasalík, Petr ; DAŇHEL, Jan (advisor) ; DOLENSKÝ, Martin (referee)
This thesis focuses on the language of filmic dreams, i.e., the means of expression used by filmmakers to create stylized dream scenes or sequences from the time of Georges Méliès to the present. Each chapter covers one decade and contains analyses of original dream scenes or sequences from two films from the respective period. There are also short synopses of all the analysed films that provide the context for the dream scenes or sequences and each dream scene or sequence is represented by two still frames from the film. At the end of each chapter, there is a list of films with dream scenes or sequences from the respective period, including the dominant means of expression used by the filmmakers, and also the films that do not use any stylization of dreams.
The goal of this thesis is to provide a brief historical overview of films containing dream scenes or sequences with focus on the means of expression used by filmmakers throughout the history of cinema.
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Construction of a gag in the works of Monty Python
Sláma, Matěj ; DUFEK, Jiří (advisor) ; DOLENSKÝ, Martin (referee)
The goal of this thesis is analysis of Monty Python’s comic. I do analyse the functionality from the dramaturgical point of view on the one hand and the formal structure on the other hand, that is slightly different in the film production and in the TV production. I am focusing on the gag structure, following the tradition of the mute slapstick comedy, where you can also see their specific point of view of this film genre. Gag is the smallest part of this genre. In the first part of my thesis, there is an analysis of the gag principle in general, in the second part I compare how is this British humour group working with gag and I illustrate it on the examples from the TV serial and from the movie.
From the analysis, I realized that it’s not the absence of the point, but the distancing effect, what makes Monty Python’s gag so original.
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Parallel Narrative: Case study
Djikanović, Luka ; JECH, Pavel (advisor) ; DOLENSKÝ, Martin (referee)
The thesis will be based on the book "The 21st Century Screenplay" by Linda Aronson. The first chapter will describe the six different parallel narratives from the book, while the most of the thesis will be based on Tandem Narrative which I will try to explain through the case study of three films: Traffic(Steven Soderbergh, 2000), Crimes and Misdemeanors ( Woody Allen, 1989) and Man is not a bird (Dusan Makavejev, 1965).
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Narrative cracks and their compensation
Hoffmann Polenský, Tomáš ; DOLENSKÝ, Martin (advisor) ; ČIHÁK, Martin (referee)
Narrative gaps are dramaturgical problems which disturb the viewers?
perception of the storyline and the fictional world of a film. The text analyses
specific narrative gaps on the example of the most popular Czech films produced
between 2000?2010. This work explores the question of the popularity of these
films despite their narrative problems. In searching for the answer it tries to see
the problem from the perspective of the audience as well as the filmmakers.
From the perspective of cognitive film theories, it describes the auto-compensation
processes applied by the viewers. It also describes the
mechanisms of attraction which are used by filmmakers to cover up the narrative
gaps.
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A film poem of the ordinairy
Hálová, Nicole ; Brdečková, Tereza (advisor) ; DOLENSKÝ, Martin (referee)
,,Every work is issued from a script that the artist projects onto culture, considered the framework of a narrative that in turn projects new possible scripts, endlessly."
The thesis focuses on the reception of the film "Brief encounter" (1945) in it's historical context, as well as on different approaches to film specific storytelling techniques, and film narration itself, through analysing different adaptations of Noël Cowards one-act play "Still life".
The referential framework would be the reception of this film in post-war Czechoslovakia, where the film was thoroughly analysed by film critics. The opinions of the reviewers to the film at this time, when they were calling for a more "filmic" cinematography, were often divided. The same can be said about the somehow disconcerted reception of the audience.
By comparing the various sources available from the specified period of
time and taking the cultural and social context into account, I would like to
come to an understanding not only of the general stance of the film critique in
Czechoslovakia at the time, but also the audience, their relationship to this
critique and to film in general.
I would especially like to use the reviews of Jiří Brdečka, whose texts reflected
films and the cultural background in the time of the nationalized cinema.
I will not be focusing on the narrative alone, but on its cultural and social relations, which is reflected on the transformation of the story into film language.
By comparing the original theater screenplay and the film script then translated to film language, I will try to analyze the specific dramaturgic methods used, focusing especially on the subjective monologue, which acts as an essential storytelling technique in Leans adaptation. Further on I compare David Leans adaptation to the "Brief encounter" remake by Alan Bridges.
This analysis should help understanding how the film was accepted at its time and should reveal what the audience and reviewers expected from such a film, may it be regarding the narrative, the formal side of the film, choice of actors and the theme itself.
The main goal of the reviewers of the time was to help the audience understand film. The goal of my thesis is to also understand the audience, to which these critiques where addressed.
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The difficulties of POV based films
Jankovec, Kryštof ; DOLENSKÝ, Martin (advisor) ; ČIHÁK, Martin (referee)
Lately we can observe a large boom of POV films. This phenomenon can be attributed especially to technological advances. Thanks to home video and Internet content we have access to a huge amount of films utilizing hand-held first person view camera. Filmmakers embrace this method for several reasons.
It allows them to work in an original way using a story telling method that can give the film an unprecedented sense of authenticity. We do not initially consider video, where the camera is in the hands of the protagonist, as a professional film and we get the sense of really encountering "reality" on the screen.
Shooting such a film naturally requires considerably less financial resources. Precise lighting, choice of camera angles and its movements as well as casting famous actors would violate the sense of reality being created and would thus be counter-productive.
Camera set into a first-person view seemingly places us into the body of the main character. This is a new experience for the audience and it enables them to experience situations "hands on".
However this method encounters many limitations in the area of classic storytelling techniques in cinematography, which the audience has been habituated to for more than a hundred years, may it be in the area of directing, camerawork, editing or sound design. These limitations greatly restrict the ability of the author to express himself and his intentions.
In this thesis I would like to reveal these limitations but also find ways to compensate for them.
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Trains in Film Noir
Veljanoski, Antonio ; DOMINKOVÁ, Petra (advisor) ; DOLENSKÝ, Martin (referee)
In this Bachelor's thesis, I will pay attention to the specific use of trains and train stations in the specific film era of film noir. My goal is to analyze the various aspects of the use of trains in this film era and partly its predecessors. Actually this Bachelor's thesis will be oriented to the dramaturgical use of film language from sound dramaturgy until the work with mise en scène. I must note that I will focus on a couple of films that are different than the others and have their own specific features that are authentic, analyzing every film noir example in which trains appear is not my goal. Mostly I will analyze its function in various cases. Some of the films will be just named and explained why they are on this list. In that way I would like to show more of this topic.
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Vlogs as a part of the Czech Youtube community's works
Beran, Matěj ; BENDOVÁ, Helena (advisor) ; DOLENSKÝ, Martin (referee)
This thesis is focused on Czech YouTube vlogs, their authors and spectators. I have therefore been watching those videos and attending events in the YouTube community over a few months and also asking authors about their motivation to create videos as well as the spectator's motivation to watch them. I have categorised and analysed Czech vlogs and associated videos. I have formed an overall opinion by applying texts by various sociologists and other theoreticians with the aim of presenting an integrated view on this topic. Youtubers and vlogs have the power to influence their audience as there is such a large number of spectators, mostly children.
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Phenomenon of the emptied narration
Böhm, Michal ; BENDOVÁ, Helena (advisor) ; DOLENSKÝ, Martin (referee)
Emptied narration is a very popular contemporary term among people around film. However there is almost no literature concerning and clearly defining this term, which leads to a confusion among people who use it. (It is also a Czech language specific term - emptied narration is just a free translation of the Czech term "Vyprázdněná narace". There are not yet any English or other languages equivalents with the same specific meaning.) Emptied narration doesn't concern only a certain type of narration - it is also a very distinctive style of contemporary art feature films.
The goal of this work is to refine this vague term and give it a theoretical background. The work draws its basic statements from the first and only text concerning emptied narration, and tries to expand its definition. The main body of this text is dedicated to finding mostly stylistical and narrative atributes common for the films of the emptied narration. These atributes are then researched more deeply and the main target is their possible impact on the spectator.
For the emptied narration films is specific that the audience attention is drawed from the story to the actual film form. It may result in a very painfull experience for most of the audience but for educated viewer the experience may be very intensifying.
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