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Nesprávný výklad obrazu středního východu v médiích.
Puc, Jurij ; Dvořák, Tomáš (vedoucí práce) ; Kolář, Viktor (oponent)
Moje teoreticka prace analizuje soucasnu interpretace obrazu na stredo vychode. Staci rict ze nas dojem o sredo vychodu a jeji politice situace je docela negativny. Analiza vyvoju bechem dejin byla udelana abich sme lib pochopili proc takova interpretace Stredo vychodu. Je mozne ze slovo Islamicke nosi negativnu akonotace a proc? Analiza soucasne prezentace stredo vychodu ukaze ze zapad nekdy nema dostatecne informaci a kriticitzmu abich lib soudil obrazy ktere dostava ze stredo vychodu. Prehled photografickih medii ukaze na potencialny problemy v interpretace kvuli zapadnemu vztachu k obrazu.
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Slovenská dokumentární sebereflexe
Hon, Štěpán ; Musilová, Helena (vedoucí práce) ; Kolář, Viktor (oponent)
Diplomová práce Slovenská dokumentární sebereflexe se věnuje historickému vývoji a současnému stavu dokumentární fotografie na Slovensku. Svoji pozornost obrací přešdevším na fotografická díla, jež se primárně pokouší kriticky reflektovat dobu svého vzniku. Všímá si rozdílu mezi pohledem na Slovensko a Slováky Karla Plicky a Ireny Blühove v meziválečném Československu. Zamýšlí se nad dílem Martina Martinčeka, Jozefa Ort-Šnepa a dalších v období normalizace. Těžiště práce se potom nachází v analýze doby nedávno minulé. Zabývá se fotografickými i organizátorskými počiny dokumentaristy Andreje Bána v letech devadesátých, mapuje vznik nového pohledu na barevné Slovensko dokumentaristů v čele s Martinem Marenčinem a Martinem Kollárem. Mapuje vznik a následný zánik občanského sdružení Slovenská dokumentárná fotofgrafie, osudy výstavního projektu Rodinný album.sk a grantové programy, které na počátku tisíciletí urychlily vznik ucelených dokumentárních reflexí měnícího se Slovenska. Práce končí pohledem na novátorský přístup Lucie Nimcové a zamyšlením o hranicích mezi fotografickým dokumentem a konceptuální tvorbou.
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Fotografie architektury a fotografie v architektuře Jacquesa Herzoga & Pierra de Meurona
Vopátková, Eva ; Grygar, Štěpán (vedoucí práce) ; Kolář, Viktor (oponent)
Bakalářská práce se zaměřuje na vzájemné setkávání dvou oborů, fotografie a architektury. Zkoumá vztah mezi realitou a její interpretací, způsob prostorové reprezentace a zpětný vliv těchto kategorií na architekturu. Konkrétně se věnuje autorům, kteří svou pozornost zaměřili na špičku současné světové architektury - švýcarský architektonický ateliér Herzog & de Meuron. Jedná se o autory doku-mentární i volné fotografie, součástí je i téma integrace fotografie přímo do archi-tektury samotné. Práce je rozdělena na několik částí. Nejprve jsou představeni architekti, jejichž dílo je tématem všech zmiňovaných fotografií. Následuje kapi-tola obecněji pojednávající o vztahu architektury a fotografie (podkapitoly per-spektiva, trend, umělý obraz, digitální obraz). Druhá polovina práce je věnována konkrétním fotografiím a je členěna dle Erica de Maré, který fotografii architektu-ry dělí na: ?Dokument?(I), ?Ilustraci?(II) a ?Obraz?(III). Jednotlivým kapitolám jsou přiřazeni autoři Margherita Spiluttini, Hisao Suzuki (I), Jeff Wall, Thomas Ruff (II), Hiroshi Sugimoto a Luisa Lambri (III).
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Media in the conflict
Jarlbro, Olof ; Silverio, Robert (vedoucí práce) ; Kolář, Viktor (oponent)
The medias existences in war differ from conflict to conflict. In the Vietnam War the media had the biggest influence and broadcasting so far in photographic history. Creating the first TV war. The wide media flow and the changed public opinion lead the US army to blame the free press for the outcome and loss in Vietnam. When the US invaded Grenada with memory of media failure in Vietnam the US army practically closed down the hole Island. The press raged and created problems for the US government in power. When US army later invaded Panama the army had learned from their mistakes and created press pool leading the media in a favorable way for the US army. This technique was later modified during the Gulf war. The Gulf War is considered being the first Live TV War. Letting people around the globe watching it as football or hockey game. The public was deceived along with the enormous amount of meaningless footage and photographs leaving the viewers with the feeling of a war without casualty. The third Balkan war created a new type of media covering "Journalism with attachment" the press becomes subjective and decides rights and wrongs, good and bad. The Rwanda genocide, the press was on the spot but the story was neglected by the media agencies. The aftermath of Rwanda created a large Cholera epidemic in Zaire, the media failed again to actually point out the genocide putting their news interest in the humanitarian crises. The international community was fast to response, helping the actually perpetrator for the Genocide. The silent media covering in Congo, the I-countries few interest in the region, the complexity of the conflict and the high risk for journalist leaves the Congo conflict in the media shadow, the outcome are insufficient aid for a large humanitarian crises which caused more life than any war since World War II. The conflict in Iraq has a large news value but the high danger involved for journalist creates an imbedded press covering the photographs made by amateurs becomes the most important in the Iraq conflict so far.
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The Americans
Mulla, Atdhe ; Kolář, Viktor (vedoucí práce) ; Silverio, Robert (oponent)
The idea that persists in almost every article or review about the photography book of Robert Frank "The Americans", besides the many variations, is that the work communicates a strong political message. However such affirmation seems to have been underdeveloped and no reference is given to any particular political principle or issue that the work might be addressing. One of the reasons, I suppose is to avoid affiliations with political philosophies or ideologies that in the USA are historically seen to be dangerous and are discredited in the public domain, the most promenent of which Communism. It has been a strong trend in Cold War America, especially during the 50-s with the almost inquisitiory congressional hearings led by Senator John McCarthy, to label any kind of strong criticism toward its society as Communist in nature. Frank also encountered this trend on the making of the pictures. Once he was asked to leave, at the Ford Motor plant at River Rouge, Michogan where a supervisor feared he might be a Communist. However Rober Frank was not a communist. Therefore if Frank´s work has political implications, it becomes necessary to outline some of the political principles that emerge or are reinforced by the images. His critique to society comes through a critique of the images it has produced and their representation. So the political controversy of "The Americans" comes as by implication of the fact that the existing modes of representation , dictated by editorial boards, had a clear political principle; maintenance and advancement of the status quo. The political controversy of Frank´s work is the invitation to reconsider the taken for granted idea of America as a successful, prosperous, full of possibilities type of reality, and he grasp it right at the center of human negligence, everyday life. In the first chapter of this thesis I will treat in brief the prevailing cultural context of the 20th century America and the tensions that shaped it. In the second chapter I will make use of Karl Marks, Herbert Marcuse and Max Webber to outline what is the prevailing political opposition of the status quo created by Capitalism, Consumerism and the Class society. This is not to assume that Robert Frank had any of the above in mind, but to show a path of where a political inquiry incited by "The Americans" could lead. In so doing in the last chapter I will analyze how Frank´s images can complement the ideas presented in chapter two and see how these ideas contribute to the images and the relevance to 21st century circumstances.
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