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French Film Festival in Czech Republic
KRAMÁŘOVÁ, Barbora
This bachelor thesis analyses the French film festival which already has its tradition in the Czech Republic. Its first part targets the past years and summarizes the history of the festival. It includes also a characteristics of organisation, conception and goals of this cinemeeting. Next part of this thesis focuses on last year's festival which was fifteenth in a row. It analyses its programme, authors and films themselves. The last part sums up the organisation and ways of promotion including partners and sponsors of the festival. In conclusion, it is focused on evaluation of festival's benefits to spread French culture in the Czech Republic. The thesis includes the extensive summary in French.
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To heat the silence, there must be heard the noise first
Březina, Jan ; Valak, Radim (advisor) ; Marek, Petr (referee)
In this paper I tried to cover existing body of work of French film director Bruno Dumont. In his five feature films I tried to find common motives to examine the specificity of his work. What are the film tools he uses to address the spectator and what is the purpose. I identified the dominant motives as four philosophical categories: body, territory, awaken one self, guilt.
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Lesson Švankmajer
Kim, Eun Sue ; Ulver, Stanislav (advisor) ; Kubíček, Jiří (referee)
Jan Svankmajer has been repeatedly derived images of people who repress freedom of individuals and the oppressed people from several literary works and writings in his films.
In this regard, 'Lunacy' is one of the representative works.
This paper analyzes his perspective on freedom focusing on his film 'Lunacy' which crammed with motifs and symbols of freedom and repression, insanity and punishment.
Perhaps people of our current era may find something in common with the oppressed characters in the old novels.
It is a search for the answer of the abstract question, 'What is freedom?' borrowing and sharing an individual, Jan Svankmajer's vision.
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New perspectives in distribution of Czech Documentary Films - digital distribution DCI and VOD platforms
Kinkalová, Barbora ; Rezková, Hana (advisor) ; Oukropec, Petr (referee)
This thesis examines new possibilities in film distribution from the point of view of documentary films. It occupies with the fact what could the coming system of digital distribution in the DCI standard and also the possibility of distributing the films by the means of video on demand (VoD) portals bring. The work is divided into two main circles.
The first part starts with a brief description of the progress of the theaters digitalisation till present days. Then it comes to the topic of actual functioning of digital DCI distribution and to the definite cases of documents, that were distributed this way in the first half of the 2010. It also speaks about the leading role of the Ministery of Culture of the Czech Republic and its Media and Audiovision Department. Further it describes the changes, which the new system brings, from the three main points of view ? from the perspective of theatres, distributors and producers. At the end this first part deals with new trends in marketing of documentary films, which is in a tight connection with coming digitalisation and the need of target marketing.
The second part of the thesis beginns with the description of the functioning of the VoD portals. It speaks about legislative system, the topic of territories, engaging the VoD servers to the distribution chain and the form of the support by the means of the EU programme MEDIA. In a detailed way, it examines than the work of eight definite foreign VoD portals, which specialize in showing the documents only, or together with other kinds of film. The Czech docalliancefilms.com is the last one from the described portals. At the conclusion, the thesis deals with the summary of the contemporary situation in the VoD portals field and hypothesis for the future. It tries to define the possible future trends in the progress of this way of distribution.
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Producer of a Long-term Observation Documentary Film
Třeštíková, Hana ; Strnad, Pavel (advisor) ; Horská, Tereza (referee)
This thesis introduces and describes the problematic of the long-term observation documentary films from the producer?s point of view. Further, it presents the history of this type of documentaries in the Czech republic, along with economical aspects of its production and following distribution.
The thesis is divided into five parts. The first part focuses on the explanation of the terminology used in this thesis. The second and third part describe the history of Czech documentary film with special regard to the long-term observation documentary film. The key part of this thesis is the fourth one. It contains description of the funding system as well as problems connected with production and exploitation of this particular kind of documentary. The last part examines several case studies that describe concrete issues of concrete long-term observation documentaries.
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Dead time in the works of Nuri Bilge Ceylan
Wiński, Tomasz ; Bouda, Marek (advisor) ; Valak, Radim (referee)
In my thesis I was trying to analize Nuri Bilge Ceylan´s feature
films in chronological order, focusing on the possibilities and
limitations of non-narrative and purely cinematic ways of
expression - like the mis-en scené, editing, framing or creative
sound editing. I wrote about all the five movies of the famous Turkish
director, which were recently awarded with numerous awards in the most
important film festivals: "Kasaba" ( "The Small town" ), "Mayis
sikintisi" ( "Clouds of May" ), "Uzak" ( "Distant" ), "Iklimler" ( "Climates" ) a "Üç maymun" ( "Three Monkeys" ). In my analysis I focused on strictly formal film sequences - but I also tried to take a closer look at the coexistence and influence of the dead time sequences on the elements of dramatic narrative in these movies.
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We are heading towards utopia, brother!
Bušta, Jan ; Fila, Kamil (advisor) ; Marek, Petr (referee)
The film director is from the core of his work and his inner foundation permanently confronted with ?worlds, that don?t exist?, ?utopias?, that he must authentically (?lifely?) construct for his audience.
That?s the central proposition on which these three essays are based on. The papers try to confront the implied ?brother-director? ? who is perceived as an all-encompassing author, both of the audio-visual and the intellectual concept of the cinematic work - with the necessity to cope with the theme of the ?utopian community?, utopia as such.
Technocratic dreamer, brother director, is in the five films dealt with - Lost Horizon (Frank Capra), Muž z prvního století (Man in Outer Space; Oldřich Lipský), Avatar (James Cameron), The Village (M. Night Shyamalan) a The Mosquito Coast (Peter Weir) placed into a situation where he must ?represent the unrepresentable?. He must with all the potentials of the cinematic expression at his disposal materialize ?realized utopian world?.
The wide dispersion of the essayistic style then allows to the author of the paper ? who considers himself to be a film director as well ? to float freely in his topic and jump from ?the light? through ? the time? to the construction of ?the space? or ?the character?. This all with the possible generalization of the author?s propositions and metaphors in mind.
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Cinematographers of czech documentary film
Šuster, Jan ; Jícha, Marek (advisor) ; Ulver, Stanislav (referee)
In my dissertation I focus on the professional, as well as on the personal, points of view of various documentary cinematographers and on the complexity of the image conveyed in the works of audiovisual documentaries.
Through the eyes of four generations of directors of photography, I seek to compose a holistic view of the Czech cinematography.
In the introduction the history of Czech documentary films is briefly outlined. The following chapter is composed of personal interviews with the four cinematographers. These professionals were chosen according to their experience with documentary films and their contribution to the Czech cinematography in general. Each one of these four professionals has a notable character which has, among their distinguished camera work, left an enduring mark on the quality of cinematographic image.
The questions directed to them are the same, thus aiming to point out a multi-generation view on the issue of camera work in Czech documentary films, as well as on the characters of the cinematographers themselves.
To conclude my dissertation I compare and contrast various attitudes toward the camera work in documentary films. By introducing my personal opinion and confronting with the ideas presented by these four generations of professionals, I aim to express the point of views of the new, fifth, generation of cinematographers.
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