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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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Internal Film Logic
Tichovský, Martin ; JÍCHA, Marek (advisor) ; SMUTNÝ, Vladimír (referee)
Abstract
The thesis Internal film logic analyzes the processes by which an audience is guided through visual signs. Film is conceived here as a type of communication. The text explores processes and relationships in the author-artwork-audience axis, and offers a terminological apparatus to philosophically work with basic questions regarding creative intention. The purpose of this work is to lead the reader-cinematographer towards awareness of organic structures within film alongside the commonly utilized technical frameworks. If an author can conceive of film as a communication process, then a film can come to life as a „dialogue“: to direct audience's thought paths, provoke their intellectual capabilities, and enliven their experiences against their expectations.
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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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The way to widescreen cinema
Matoušek, Philip ; SMUTNÝ, Vladimír (advisor) ; MACÁK, Jiří (referee)
This thesis looks at the development of widescreen cinema and tries to describe the main steps in its development. I lay the main emphasis on the time of the beginning of cinema at the end of the 19th century and the establishing of the norm of 35mm film, then on the late 20s, where this norm was almost transformed into a new norm of a wide format, and eventually the implementation of a new norm of widescreen cinema in the 50s.
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