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Artistic films produced by the pharmaceutical company Sandoz
Petříková, Lea ; BENDOVÁ, Helena (advisor) ; Dytrtová, Kateřina (referee)
The aim of this Master’s thesis is to analyse formal and thematic layers of the artistic films produced by the pharmaceutic company Sandoz and to put them in the relation to
the specific history of the company. Sandoz laboratories produced mainly in the 60’s and 70’s several artistic films (e.g. La Femme 100 Têtes which was the adaptation of Max Ernst’s collages or Images du monde visionnaire with the presence of artist Henri Michaux). The thesis explores some of the films and, at the same time, describes the production background and cinematographic context in the relation to the history of Sandoz laboratories.
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Imaging styles of American Cameramen in the 1960’s and 70‘s in the 20th century
Chajewski, Jan ; BRABEC, Jaroslav (advisor) ; SMUTNÝ, Vladimír (referee)
An analysis of the changes in style in cinematography during the „New Hollywood“ or „American New Wave“ of the 1960’s and 70‘s is the intent of this thesis. The main context for this analysis is the influence the French New Wave had on American Cinema. We try to look at specific aspects of American visual culture and the progress made in that culture as a result of American cinematographer’s reaction to new cinematic ideas. As a result of new thinking in cinema Hollywood cameramen began making “mistakes” acceptable and using them as visual tools, that their older colleagues where forbidden to use. Bonnie and Clyde was the first widely successful “New Hollywood” film, so in comparison to Jules and Jim, its French equivalent, we can look at the way visual language changed and how differently the same cinematic thought can be brought to life in two very different cinematic cultures.
The main contribution of this thesis is the analysis of the new visual tools that American cameramen brought to world cinema. These tools can be observed when watching almost any audiovisual product made after 1967, when Bonnie and Clyde had its premiere. For future cinematographers the knowledge of the historical context of these visual tools can be beneficial for more informed viewing.
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Serge Reggiani, the importance of inconspicuousness
Hrzina, Václav ; VALAK, Radim (advisor) ; Slavíková, Nataša (referee)
I would like to understand the importance of an actor in a movie. I choosed Serge Reggiani, a french actor, who never became a star number one. Reggiani went through a lot of important movies in principal or small roles. What it really means acting in a movie, what brings freedom to an actor in front of a camera and is one actor able to play different characters in every other movie. A diversity and length of his filmography, different directing styles he went through will help me to concretize attitude of an actor and perception of his „different“ characters by audience. I would like to bring up some acting metodes in cinematography in my work too.
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The work of Sylvain Chomet
Kouřil, Jakub ; PAVLÁTOVÁ, Michaela (advisor) ; DĚCKÁ, Eliška (referee)
The theme of the diploma thesis is the work of French animator and director Sylvain Chomet. Chomet is introduced as the most significant figure in contemporary French animation. By analysis of three of his films is examined Chomet's contribution in the field of feature animation. The focus is placed on the film The Triplets of Belleville, which is considered the most impressive Chomet's film. The goal is a comprehensive view of his past film work in the context of the epoch. Marginally, this work also deals with Chomet's participation in the field of feature film and not least with his comics work.
Part of the text is also aimed at Chomet's collaboration with artists Nicolas De Crécy and Evgeni Tomov with aim on the illustrator De Crécy, who is currently one of the leading French artists.
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Memory landscape as home in films of Alain Resnais Providence and My American Uncle
Midriaková, Monika ; BENDOVÁ, Helena (advisor) ; DAŇHEL, Jan (referee)
This work analyzes the films "Providence" and "My American Uncle" directed by Alain Resnais.
It examines two different approaches to the narrator concept, discusses the montage procedures and the creation of film space. It follows in one case an "unreliable" narrator, who is a figure in the story and its co-creator. In the second case a narrator - commentator, who is outside the story, does not interfere into it, nor does he causally affect the plot in his commentary. He becomes the narrator just due to the montage. The work next discusses additional montage principles on top of which these films are build, and the work with space as a semantic element, where with the help of scenographical variations different story variants are been dealt with. The last chapter constructs a "landscape of memory" as a metaphor of the internal personal home - "safety", which Resnais' cinematography studies and doubts.
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French Films and their Distribution in the Czech republic
Tabery, Alice ; Kopečková, Zuzana (advisor) ; DANIELIS, Aleš (referee)
This thesis is devoted to French films and their distribution in Czech cinemas, on
DVD or on television channels in last ten years. It describes their production and
promotion, the system of subsidies from the French National Film Center (CNC)
and the organisation Unfrance Films. This thesis further analyses the situation on
Czech film market and the position of French cinematography in our country
from the nineties to the present. This is accompanied by a list of French films
released between 2002 and 2011. The work also focuses on Czech distributors
presenting French films. An example of one such case is brought in by a case
study on presenting of the film Mammoth. The work analyses conditions
determining the current position of French films towards their competition and it
follows reception and success they received in Czech Republic.
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Strategies of the translation of French film titles into Czech
FILIPOVÁ, Kateřina
The main task of this master's dissertation is to create an outline of various translation strategies of French film titles into Czech language and to identify their statistic significance. It contains films distributed into the Czech republic from 1990 to 2006. It is divided into two main parts. The first part deals with typology and translation of titles, development of French cinematography from it`s beginning to the present day, institutions promoting French films in France and in the Czech republic as well as the appreciation of French cinematography by Czech audience. The second part contains classification of films from the above mentioned era according to their title translation followed by an analysis of every single category, which leads to nine strategies and their percentage analysis.
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