Národní úložiště šedé literatury Nalezeno 8 záznamů.  Hledání trvalo 0.01 vteřin. 
Heroes of New Russia
Shidlovskiy, Kirill ; BERGAN, Ronald (vedoucí práce) ; Dolotina, Kamila (oponent)
The master thesis “Heroes of New Russia: Analysis of Character Archetypes in the Works of Alexei Balanov” introduces the life and work of one of the most remarkable directors of a new Russian cinema, Alexei Balabanov. Through the use of qualitative content analysis it discusses all his feature films, both finished and unfinished, and focuses on the hero archetypes that the director/screenwriter Balabanov kept using. Furthermore, it describes changing of these archetypes over time as the society of the new Russian Federation kept on changing after the fall of the Soviet Union and as Balabanov perceived that change, both in his life and in his works. Finally, the thesis puts all the ascertained findings into a broader context, based on national, historical and cultural aspects to provide an objective framework for the subjective approach of the famous director.
The films of Abdellatif Kechiche
Lyubynetska, Anna Nuriya ; BERGAN, Ronald (vedoucí práce) ; ANGIOLILLO, Mary Carmel (oponent)
This thesis studies the directing and scriptwriting work of French-Tunisian director Abdellatif Kechiche. In this thesis, the director’s five feature films will be analyzed based on such elements as narrative structures, themes, visual and sound language and construction of characters. On the basis of a close study of these elements, the thesis will analyze the stylistic choices, which form Kechiche’s directing as well as the tools he uses to create new realist films in contemporary France. Abdellatif Kechiche explains that he doesn’t want his cinema “to look like life, I want it to actually be life. Real moments of life, that's what I'm after." (Romney, 2013) This thesis will analyze the meaning of this statement.
The Promise and its Ethics
Põhjala, Priit ; PETŘÍČEK, Miroslav (vedoucí práce) ; BERGAN, Ronald (oponent)
I have taken the subject of Ethics in the film The Promise (1996) by the filmmakers Jean-Pierre Dardenne and Luc Dardenne as a case study in the use of philosophy, in this instance that of the French philosopher Emmanuel Levinas (1906 - 1995), and how it can inform all aspects of storytelling. While not the only viable interpretation of the work, Levinas' thought is most relevant to the narrative as well as to the larger intellectual goals of the film. His ethics here is not here merely tacked on intellectualism but is formative of the characters and the story told by the filmmakers, to the point where the film itself becomes a test for the acceptability of the philosophy, akin to a though experiment in film form, something that it at the very end fails to prove. Despite its philosophical and story telling short comings, the Promise is a good showcase of the use of philosophy in filmmaking and where it's successes show the strength of this approach it's failures show the perils of it, something that the Dardenne brothers have shown to have learn from in their subsequent films.
The FIilms of Lucrecia Martel
Ortiz Cordero, Edgar Josue ; BERGAN, Ronald (vedoucí práce) ; BENDOVÁ, Helena (oponent)
This thesis is a study on New Argentine Cinema director Lucrecia Martel. It analyzes her work so far by discussing her feature films relative to their narrative, aural, visual and thematic components. Lucrecia Martel explains that she constructs her films by “layering” narrative and emotional content. This thesis will analyze what this statement means. Through these elements, the thesis attempts to characterize Martel's unique qualities as an auteur by paying particular attention to the elements of film grammar, such as sound and image design, which she uses to convey relevant plot information and to create meaningful metaphors that expand the image-space. The thesis will contribute to the relatively little written in English on Lucrecia Martel.
Duality as a creative principle in the films of A. Żuławski
Lenak, Miliana ; BERGAN, Ronald (vedoucí práce) ; ROBBIANO, Giovanni Battista (oponent)
The cinema of the controversial Polish director Andrzej Żuławski changed and morphed in synchronicity with his personal transformations over the years; however, the use of duality remained a consistent principle in his artistic approach, which also contributed to the polarized reactions that his films usually provoked from their audience. The founder of psychoanalysis, Sigmund Freud, also examined opposites and identified two basic instincts underlying every human action: the life instinct and the death instinct. I find a correlation between Freud’s theory of opposing instincts and the core themes in Żuławski films, which I identify as the theme of Love and the theme of Death. In my thesis I will endeavor to approach an analysis of two of Żuławski’s films through the prism of dualism contained in the pair of his most exploited themes. Although the thematic duo of Love and Death prevails in most of Żuławski’s films, I have deliberately chosen The Third Part of the Night and Possession as the basis of my analysis, since I find it fascinating how the duality concept is evident not only in the content of each film separately but also in the way these two films correlate.
The Rise of Cinema in Iraqi Kurdistan
Piper-Burket, Emma Catherine ; LANGEROVÁ, Viera (vedoucí práce) ; BERGAN, Ronald (oponent)
Iraqi Kurdish cinema has emerged as a growing film movement since the early 2000s.
Same story told differently how the socio-cultural factors influenced the creation of Abre los Ojos and Vanilla Sky
Viitman, Milena ; ANGIOLILLO, Mary Carmel (vedoucí práce) ; BERGAN, Ronald (oponent)
In order to illustrate how the same story significantly changes depending on its country of origin, I will use the example of Abre Los Ojos (Spain, 1997) and its remake Vanilla Sky (USA, 2001). The intention of my thesis will not be to prove which version is better, but rather to show how all differences are results of a different ideological and cinematographic tradition. First, I will talk about kinds of remakes and why Hollywood remakes European films. Then, I will compare the main characters in both films, and show how they reflect socio-behavioral norms, based on their country of origin. Then, I will continue with other cultural differences expressed in the language, cinematography, editing, music, acting and directing. The main sociological, therefore cinematographic difference, which prevails in all aspects and sections of the two films, is that Abre los Ojos deals with the protagonist?s inner struggles, while Vanilla Sky is a love driven film. This thematic difference reveals a lot about the audience?s preferences in Europe and America.
The Diversity of the Femme Fatale Character in Film
Naumovska, Frosina ; ANGIOLILLO, Mary Carmel (vedoucí práce) ; BERGAN, Ronald (oponent)
This thesis will examine the diversity of the film archetype knows as the ?femme fatale? from her emergence in early noir film to her development in contemporary cinema. By tracing her appearance across a timeframe of eight decades, I will expose the diversity of her physical manifestations as well as diverse methods that she used in continual war against manhood. I will do so, by analyzing one prototype of the femme fatale followed by six other female characters, all of whom have been critically referenced as a ?femme fatale? or ?devil?s woman? within different film genres. These characters are LOLA-LOLA from the 1930 early German noir film Blue Angel as the prototypical femme fatale; BABY DOLL from the 1956 American black comedy of the same name; VARLA from the 1965 American exploitation film Faster, Pussycat! Kill! Kill!; ANNIE WILKES from the 1990?s American thriller/horror Misery; LOLITA from the 1997 French-American melodrama of the same name; VERA from the 2007 Russian drama Banishment and LISBETH SALANDER from the 2011 American mystery film The Girl with the Dragon Tattoo. The term ?femme fatale? will be examined for its origins and the development of this type of character will be examined from its early appearance to its manifestation in contemporary film. Attention will be paid to how the manifestation of the femme fatale reflects the time in which the film was produced.

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