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Narrative modes of the mind game film from 1990 to 2005
Dvorská, Veronika ; KAJÁNKOVÁ, Lucia (advisor) ; POZZI, Jaroslav (referee)
The thesis examines the context and practical applictations of the narrative modes of the mind game film.
It introduces the reader to broad implications of the modern narration phenomena (where the narrative twists themself are an object of viewer's immersion and suspensions on par with audiovisual attractions).
Later, it uses terms such as perspective, anagnorisis and various types of unreliable narration to further classify and deconstruct the narrative structures of the mind game film as defined by Thomas Elsaesser.
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The motive of selfishness and the possibilities of its displaying in the film August: Osage County
Nováková, Tereza ; DUFEK, Jiří (advisor) ; KAJÁNKOVÁ, Lucia (referee)
The bachelor's thesis deals with the searching of a motive of selfishness in an American film August: Osage County and the tools of displaying this motive in a film work. This thesis is not a film analyse although it could seems like it is. The thesis focuses on one concrete motive which is a main motive in the film. In this kind of focus the thesis analyses every single character, their motivations and the psychological profile of chosen ones
In the first part, I introduce the chosen film, the author of the script and – shortly – the film plot as well. In the second part, I try to analyse the structure of the story based on the work by Linda Aronson, the part of food as a stage proprerty, character's sexual behaviour and their psychological disorders. In the third part, I compare the film adaptation to the original play, which was also written by Tracy Letts, the author of the film sript.
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The Principle of Mary Sue Phenomenon or How to Not Create a Too Perfect Figure
Kabelková, Adéla ; BENDOVÁ, Helena (advisor) ; KAJÁNKOVÁ, Lucia (referee)
Masters diploma thesis The Mary Sue Principle or How Not To Create A Too Perfect Character is focused on the literary phenomenon of fan literary work – fan fiction – and its specific genre, Mary Sue. For this genre are typical almost ridiculously/absurd perfect characters, which attract all of the attention to themselves and often have excessive superpowers on their disposal.
The theoretical part of the thesis outlines the reasons for the creation of Mary Sue and explain specifics of this phenomenon. Moreover, it describes describe dramaturgic rules, which are supposed to help authors to create a character. The analytic part of the thesis then analyzes three movie and TV series characters – Jon Snow from Game of Thrones, Ray from Star Wars: The Force Awakens and Grace from Peaky Blinders – which can be used to demonstrate components of a Mary Sue type of character. The goal of this thesis is to propose the use of the Mary Sue principle as a dramaturgic tool for character building.
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The Coming Out Process of Queer Male Teenagers in Contemporary European Cinema
Hosenseidl, Radek ; BENDOVÁ, Helena (advisor) ; VAJCHR, Marek (referee)
This thesis discusses the similarities in coming-out depictions in
contemporary European cinema focusing on teenage and coming-of-age queer
male characters. While based on understanding the coming out as a sociological
phenomenon with strereotypical development, it allows for deviations both in
reality and in film. The thesis further aims to identify common elements in films
with coming-out narratives: repetitive narrative techniques, themes, characters
and motives. Using the analyses of three films, the thesis also examines the
importance of coming-out stories in broader film narrative.
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Kiruna - The Limits of Observation
Stocklassová, Greta ; KRATOCHVÍL, Jaroslav (advisor) ; KLUSÁK, Vít (referee)
Bachelor thesis Kiruna – The Limits of Observation deals stylized observation
method used in documentary film focussing on production of bachelor movie
Kiruna 2.0 directed by Greta Stocklassa. The first part of thesis deals term stylized
observation and the Nichols’ diagram of relationship of fiction and nonfiction. Five
movies (Play, Involuntary, Turist, Fire at Sea, Into the Clouds We Gaze) lying on
the border between fiction and nonfiction are discussed, classified based on their
characteristics and placed in the modified diagram prepared by author.
Second part describes the preparation and production of the bachelor movie
Kiruna 2.0, it describes decisions and choices author had to make and dealt with
during filming. Advantages and limits together with formal ethical aspects of
observation are then discussed based on opinions of other directors and authors’
experiences. Last part is a brief manual for other future directors who will decide
to use observation in their movies.
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Time and sound in cinema
Richtr, Jan ; KUDLÁČ, Jakub (advisor) ; REJHOLEC, Pavel (referee)
The theme of this diploma thesis is perception of time within the
audiovisual work. Particular attention is paid to the audio component of the
audiovisual work, from which perspective is seen the phenomenon of time. First
there is briefly introduced understanding of time evolved within the philosophical
context. The next part presents film as a medium that, from its formal nature,
brings new impetus that further develops the thinking of time. After this
introduction work focuses on the way of perceiving time within the sound itself,
respectively in music composition. It is based on the findings of psychoacoustics
and, above all, on the theoretical considerations of French composer Gérard
Grisey, to which is trying to find parallels in the context of the sound dramaturgy
of the film work. The last part deals with time relations arising from the
relationship between film image and sound. It is trying to question and then
generalize specific formal relationships within the audiovisual work, influencing
the subjective perception of time.
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When Colour Narrates: Colour as a Narrative Tool in Audiovisual Storytelling
Larsen, Morten ; JÍCHA, Marek (advisor) ; KLARICOVÁ, Kateřina (referee)
This thesis explores the use of colour as a narrative tool within the realm of cinema. Even though colours have taken up a considerable role in the history of film, colour theory and colour aesthetic have not received reasonable attention in film studies compared to other fields. The thesis reflects upon why this might be the case based on the hypothesis by David Bachelor that a history long “chromophobia” has existed in the arts in the Western world. The paper then seeks to give an overview of relevant theory of colour that tries to shed light on the multiplex nature of colour itself, and in continuation to that, its ability to convey meaning within audio-visual story-telling. Finally, this paper shall investigate the selected works by three directors - Eric Rohmer, Rainer Werner Fassbinder and Alfred Hitchcock - that utilize colour narratively within their work but in various ways. It is the aim of this thesis that the analysis supported by theory shall prove the quality and unique property of colour in audio-visual storytelling.
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Means of expression in film noir and their use in the following development of world cinematography
Pospíšil, Petr ; SMUTNÝ, Vladimír (advisor) ; MACÁK, Jiří (referee)
This thesis describes the origins of film-noir genre, historical context of classic noir era as well as the influence of its film predecessors, emphasising the tradition of german expressionism. Each single aspect creating the characteristic film-noir look is analysed and described in detail, and illustrated using film stills containing such aspect. Following text summarises reasons and circumstances of the end of this classic era. The second part of my thesis is dedicated to the utilization of this noir aspects in later films all the way up to the present times. This part is also supplemented with practical examples of these elemets being used.
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