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Representation of yōkai in Japanese cinema through the example of Yokai Monsters trilogy
Stewart, Gerron Edward ; Čeněk, David (advisor) ; Schimera, Rudolf (referee)
This thesis takes a look at the representation of the creatures of Japanese folklore called yōkai in Japanese cinema of the 1960s. It is specifically focused on a trilogy of films by Daiei film company Yokai Monsters: 100 Monsters (dir. Yasuda Kimiyoshi, 1968), Yokai Monsters: Spook Warfare (dir. Kuroda Yoshiyuki, 1968) and Yokai Monsters: Along with Ghosts (dir. Kuroda Yoshiyuki, Yasuda Kimiyoshi; 1969) and the ways of how the then current trends in portraying yōkai and kaiju affected it. The thesis does so through semiotic approach and neoformalist analysis of the films. In the conclusion it is evaluated how much each of the trends affected the films.
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Film Screenings at CVUT
Henzler, Richard ; Czesany Dvořáková, Tereza (advisor) ; Čeněk, David (referee)
Title: Film Screenings at ČVUT Author: Richard Henzler Department: Film Studies Department, Faculty of Arts, Charles University in Prague Thesis supervisor: Mgr. MgA Tereza Czesany Dvořáková The thesis presents a history of film screenings at ČVUT using the method of oral history. The aim of the thesis is to present the operation of the film club in years 1984 until 1990. Interviews with the founders of the Film club Richard Kohout, Martin Řezníček and Jiří Neuman were used as a primary source. They were complemented by information obtained from the club's internal records and by contemporary newspaper and literary accounts. The main contribution of the thesis is the fact that this topic has not yet been processed and the thesis can be thus used as a basis for further research in the field of oral history and history of film. The theoretical part of the work introduces the method of oral history, its methodology, advantages and shortcomings. The following chapter summarizes a number of projects, both Czech and international, which are using the method of oral history and whose primary interest lies within the field of film studies. The practical part gives a chronological account of the operation of the film club and is supplemented by information from the interviews and from the records of the...
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The Phenomenon of Zombies in Films by George A. Romero
Čada Wernischová, Nelly ; Čeněk, David (advisor) ; Svatoňová, Kateřina (referee)
(in English) This work deals with the phenomenon of zombie in films by George A. Romero. Its objective is to prove that, although the characteristics of the phenomenon underwent significant change within individual films by this director, it still preserved the basic metaphoric function it had already at the time of its origination in Haiti in the 17th century. . The analytical part, in which three selected zombie horrors by George A. Romero (Dawn of the Dead, Land of the Dead and Diary of the Dead) are discussed, is based on the methods of neoformalist analysis. Based on the analysis of individual films, I have proved that the zombie phenomenon in Romero's films works, the same as it does in Haiti, as a metaphor of slavery with this metaphor being varied depending on the issues that become the current topic of each of the films whose actual aim is to criticise the contemporary society.
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The first gore scenes in the American mainstream cinema
Šrajer, Martin ; Čeněk, David (advisor) ; Přádná, Stanislava (referee)
The Bachelor's Thesis The First Gore Scenes in the American Mainstream Cinema analyses the cinematography of the USA in the sixties through the topic of film violence. Its primary concern are explicitly violent scenes classified as "gore". Their emergence was connected with deeper social and industrial context, shaped since the end of the Second World War. The goal of the work is to describe factors which were crucial for the shift to a more graphical depiction of film violence and to present how these factors influenced Bonnie and Clyde and The Wild Bunch, two movies chosen for case studies.
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Jihlava IDFF: festival identity as based on the network construction
Hlubek, Jan ; Hanáková, Petra (advisor) ; Čeněk, David (referee)
This thesis analyses the International Documentary Film Fest ival Jihlava from the point of view of the actor-network theory. Its focus is to understand various ways the festival (as unique and indispensable event in the cultural space) const ructs its identity. It suggests that the evolution of the Jihlava IDFF is possible only due to its formation as an actor-network - heterogeneous complexity of people, things and their interact ions. Network's capacity of effective transformations allows the festival to position itsel f on the domestic festival map and integrate successfully to the international film festival ci rcuit. The festival actor-network aims mainly to sustain and ampli fy its position of an unreplaceable cultural institution. Analogous to another festival networks, Jihlava IDFF t ries to produce certain cultural value - through the original agenda-setting, programming and the creation of a singular meeting point. And the identity of the Jihlava IDFF can be seen as the result of this network's complexity.
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Historical poetics of Jim McBride's work in the context of diary film
Koutesh, Marek ; Čeněk, David (advisor) ; Česálková, Lucie (referee)
The aim of this thesis was to clarify the reasons of the formal diversity that can be observed in selected films by director Jim McBride. The hypothesis is based on the fact that these movies are characterized by different tendencies of independent American cinema in the 50s and 60s. The aim of the work was to prove that similar diversity of stylistic devices was accepted and even supported in the ecosystem of American underground. The starting point for historical research and analysis was a poetics of cinema approach outlined by David Bordwell in Poetics of Cinema. From this perspective, the thesis examines the immanent and distant factors that may have influenced McBride's works. After an introduction of these theoretical starting points, working hypotheses connected with individual films and with the creative ecosystem were defined. Formal heterogeneity was demonstrated on Shirley Clarke's work and in Marie Menken's film Notebook. The chapters are followed by an analysis of three McBride's movies. A closer analysis of selected categories of film form confirmed the hypothesis that the films are really distinct and that their director interacted with various traditions and norms.
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Typology of Indian character in Mexican fiction film
Čeněk, David ; Opatrný, Josef (advisor) ; Klimeš, Ivan (referee)
Záměrem této práce je upřesnit a definovat jedno z klíčových témat mexického filmu obraz původního indiánského obyvatelstva, které nicméně není příliš reflektováno v odborné literatuře. Indiáni 1 jsou potomci nám známých původních obyvatel amerického kontinentu, jejich obraz tvoří nedílnou část uměleckých projevů všech oborů. V současnosti existující kultura v Mexiku je směsí evropských a indiánských vlivů. Nativní obyvatelé jsou její nejpůvodnější součástí. S příchodem kinematografu se film stal nejrozšířenějším médiem, prostřednictvím něhož se člověk mohl vyjádřit, a prvními tématy byly spíše obrazy z každodenního života. Postupně se zajímavým námětem stávala i historická paměť národa, která je spjata s problematikou, jak většinová společnost vnímá indiánské komunity.
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Giallo: hybridity and disorientation
Přibil, Michael ; Čeněk, David (advisor) ; Přádná, Stanislava (referee)
My work is aiming to determine and later to anlyse the giallo filone, i.e. a group of movies produced in Italy from 60's to 70's. I would like to critically assess up to date research of the afore mentioned filone because in my opinion it has not reflected enough a variety of relevant contexts (e.g. its audience, its roots, social-critical movie context, its literary and comic book roots, genre hybridity in Italian film productions). Furthermore I will look for principals constructions of these movies and I will try to reveal creative techniques causing plot disorientation to a spectator, and finally I will define and confirm a dominant, which is a common for fabula, narration, style and perception. The main dominant of the giallo structuring all of the formal elements is the principle of disorientation.
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BIRTH AND IMPORTANCE OF THE DANCE PHENOMENON IN THE „CINE DE CABARETERAS“ WITHIN MEXICAN CINEMA
Garduňo, Rolando ; ČIHÁK, Martin (advisor) ; ČENĚK, David (referee)
Within the Mexican cinematography, exists a sub-genre type called cabaret, cabaret dancers or brothels cinema; this thesis seeks to do a revaluation of this sub-genre through analysis of its films, concentrating primarily in deeper understanding of the use filmmakers give to music and dance as part of film´s language. Since these narratives borrow elements of film noir and conjugate with extravagant and monumental dance scenes, giving origin to a particular aesthetic that is not possible to appreciate in any other cinematographic genre.
In spite of its short period of life –approximately eight years – it counts with a broad repertoire that includes more that fifty titles; since this study is not of monographic nature, a selection of film work was required which does not necessarily mean an anthology of the sub-genre; in some cases its importance resides in the contribution provided in the development and evolution of such and in others, the specific way in which dance was used.
Lastly another aspect that has been considered during the elaboration this work, is the breaking point that the cabaret cinema represents in the history of mexican cinematography that consists in a change of tendency in the productions of that period, in addition to the vast influence, up until today, that these films have in mexican‘s identities or better yet in their sentimental education.
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Gaspar Noe, autor of twisted narration
Rezler, Luboš ; BENDOVÁ, Helena (advisor) ; ČENĚK, David (referee)
This bachelor thesis has a goal to formally and narratively examine and thematically interpret two films of director Gaspar Noé. At the begining, it analyses evolution of his work, including realization of short films and music videos. Furthermore it examines his works in context of „New French Extremity“ movement. Another ambition of this thesis is to analyse films „Irreversible“ 2002 and „Enter the Void“ 2009. It mostly focuses in searching for specific expressive resources and strategies which could expand authors work for potential uncovered context, inspiration and meanings. Thesis examines crucial themes of Noés films which include topics as ; relationship between sexuality and violence, afterlife, instinctive behaviour of individual, et cetera.
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