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Overcoats
Trnka, Matyáš ; KUBÍČEK, Jiří (advisor) ; Mertová, Michaela (referee)
Bachelor thesis Overcoats presents unrealized projects (mostly films) of seven czech major directors of animated films. Text contains samples from specific projects, accompanying text of author of the thesis, which puts works into larger context and interviews which was made directly with authors of projects or the individuals most connected. Interviews were taken, rewritten and modified in July and August 2016.
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Auteur Execution of Film Dialogue
Kocábek, Daniel ; KAJÁNKOVÁ, Lucia (advisor) ; VAJCHR, Marek (referee)
This thesis is about auteur execution of film dialogue in screenplays and also in film. By analysing four different feature films, Reservoir Dogs, Chasing Amy, Before Sunset, and Rushmore this work shows how their authors shoot conversational scenes in an innovative manner. The American Independent cinema is briefly introduced as well as the auteur theory. The choice of filmmakers and specific films is explained. The thesis subsequently demonstrates how film dialogue is being viewed by film handbooks and how a conventional dialogue scene looks like. The four analyses are based on all of this information.
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Dostoevsky's Double and it's film version
Bohuslav, Vojtěch ; MRAVCOVÁ, Marie (advisor) ; RYŠAVÝ, Martin (referee)
This thesis‘s primary concern is the novel ‚Double‘ by F. M. Dostoevsky and it’s film adaptation by Richard Ayoade. Firstly it focuses on the novel’s literary predecessors. The major interest of the very analysis of The Double is it‘s main figure – mr. Goljadkin. It also tries to point out the challenges of the potential adaptation. Then it attempts to grasp the fundamental ,shift‘, that the director Ayoade carried out while making the Double a movie. The last part of the Thesis contains a theme for the author’s original film version of the Double.
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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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Radek Pilař "again finding childhood of arts"
Komrzýová, Adéla ; VACHEK, Karel (advisor) ; DAŇHEL, Jan (referee)
This thesis discovers personality of Radek Pilar on a personal, public and artistic level. Through personal diary entries, texts written in periodicals dealing with visual arts, interviews of different genres and unpublished reflections on the future of electronic moving image, I try to reconstruct Pilar personality and its space in the Czechoslovak context of art and time.
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Slib a jeho etika
Põhjala, Priit ; PETŘÍČEK, Miroslav (advisor) ; BERGAN, Ronald (referee)
Zvolil jsem si téma etiky ve filmu Slib (1996) tvůrců Jeana-Pierra Dardennea a Luca Dardennea jakožto příkladovou studii užití filozofie, v tomto případě filozofie francouzského filozofa Emmanuela Levinase (1906–1995), a jak jeho filozofie ovlivňuje všechny aspekty vyprávění. Ačkoliv se nejedná o jedinou možnou interpretaci jejich díla, myšlenky Levinase jsou nejvíce relevantní jak pro příběh, tak i pro vyšší intelektuální cíle filmu. Zde je jeho pojem etiky jádrem postav a vyprávění až do bodu, kde se film sám o sobě stává testem pro přijatelnost Levinasovy filozofie, jako myšlenkového experimentu ve filmové podobě. Přijatelnost Levinasovy filozofie zůstává na konci filmu neprokázána. I přes filozofické a vyprávěcí nedostatky je Slib dobrým příkladem užití filozofie ve filmu, v jehož lepších částech se ukazuje síla tohoto přístupu, nicméně v horších částech můžeme vidět nebezpečí, které z tohoto přístupu vychází. V následujících filmech je zřejmé, že se bratři Dardenneové poučili ze svých chyb.
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Historical roots of the conemporary minimalistic cinema
Böhm, Michal ; HOLÝ, Zdeněk (advisor) ; BOUDA, Marek (referee)
Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century.
Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether.
The aim of this work is to analyze those historical cinema tendencies that bear most resemblance to the modern style of minimalism. I consider these films (and styles) to be the most predetermenative to the style of minimalism: Italian neorealism, spiritual work of Ozu and Bresson, experimental structural movies, the cinematic masterpiece Jean Dielman, 23 Commerce Quay, 1080 Brussels from Chantal Akerman and Antonionis movies with their narative structure.
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