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Optophonetic harmonies
Klímová, Blanka ; Čihák, Martin (advisor) ; Bagdasarov, Georgy (referee)
The basic starting point of the following text lies in the essays written by Czech theorists of 1930s, such as poets, scientists, film critics and avant-garde filmmakers. The text proceeds from the precedence of asynchronity which is the fundamental mean of the film language. It follows the origins of using the sound as the bearer of meaning and it looks for describe it as a meaning-making element of the film transmission. I?m writing about the experiments of visualisation of sounds based on searching the analogy between the visual and the acoustic space of a film opus. I proceeded from the films of O. Fischinger, Whitney brothers, L. Lye, H. Hirshe, F. and S. Themerson and J. Lehovec. For the analysis of relations between geometrical and informel structures depending on the space and the time, I used the films of M. Duchamp, F. Léger, G. Dulac, H. Chomette, R. Steiner, H. Richter, V. Eggeling and W. Ruttmann.
An integral part of this text is the formal analysis of the film Na Pražském hradě (Prague Castle, 1931) by Alexander Hackenschmied. All this only for find the optophonetic harmonies, based on the vibrations of the acoustic and visual waves and their synchronous or asynchronous variations.
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Vertikal montage in Kenneth Anger s films
Brajnik, Črt ; Daňhel, Jan (advisor) ; Čihák, Martin (referee)
In this work I will analize the creative opus of the American filmmaker Kenneth Anger, who worked from the late 40´ (his first short Fireworks dates back to the year 1947) till the present time. There are several subject which are offered to the pen of an enquiring spirit. As a matter of fact we deal with a person who developed a specific aesthetic that became a trademark for many auteurs who got inspired by his work (in reference to David Lynch and Martin Scorsese). His internal growth lead him from esoteric themes (as a follower of the Thelema sect founded by Aleister Crowley) to mundane ones, dealing with his beloved Hollywood (Babyloon), weaving a thread leading to homosexual evocations intertwined with the pop culture of the Beat generation.
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The Zigzag line in the other dimension
Oraský, Jan ; Trajkov, Ivo (advisor) ; Čihák, Martin (referee)
The main inspiration of my work is the essay, The Zigzag line, Jeremy Adler, which is interested in the curves like aesthetic value. I have also chosen the theoretical study of Professor Josef Valušiak. His publication is the inspiration for my idea about artistic value of curves. I think that the zigzag line is everywhere around us and these lines influence our opinion and feeling of this world. I want to find equivalence relation between zigzag lines and film.
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Work with Time - Time of Work
Špidla, Šimon ; Čihák, Martin (advisor) ; Daňhel, Jan (referee)
This work concerns the issue of deconstruction of time on its way through a lens, editing room and screening room and its reconstruction in proces of imagination. First capture tries to describe problem of cotinuous and discontinuous character of universe. Next chapters are focused on transformation of time in proces of filmmakeing and its perception in point of viev of filmmaker.
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The spirit of the beehive, amid history, movie and dream
Toupalová, Kristýna ; Čihák, Martin (advisor) ; Daňhel, Jan (referee)
Este texto trata de la película El espíritu de la colmena (Victor Erice, 1973) que se considera una de las mejores películas del cine espa?ol, pero, en la República Checa no es casi conocida, aquí ni existe literatura sobre ella, por lo tanto, este trabajo lleva traducciones de los textos interesantes escritos sobre ella en Espa?a. Consta de tres partes. La primera parte se ocupa detalladamente por los títulos de crédito de la película, describe su importancia para todo el relato fílmico. La segunda parte menciona los grandes cambios en el guión literal antes de empezar a rodar la película y su influencia a toda la película. La tercera parte (la más extensa) es el análisis formal y argumental de El Espíritu de la colmena. Describe el modo de trato de los personajes que conlleva el modo de trato de las relaciones espacio-temporales, describe cómo el ambiente de la postguerra está hecho de ausencias de los hechos históricos ? cómo se muestra la historia vista por un ni?o y al final cómo son las metáforas utilizadas. Uno de sus objetivos es investigar cómo se forma un mundo de una ni?a peque?a y cómo es posible que sea tan verosímil para el espectador.
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Film language and film on the frontier of language
Brothánek, Adam ; Daňhel, Jan (advisor) ; Čihák, Martin (referee)
This text deals with questions about film as language system according to editing profess. In the first part are basics of language system explained. It illustrates application of linguistic discipline in film theory and practises, which is demonstrated with creative concepts of Griffith and Eisenstein. In the following it summarizes findings of film structuralism as predominant discursus in film theory and clears up questions of film grammar. Second part of the work demarcates against linguistic theories of cinema, connected mostly with fiction, narrative cinematography, and tries to point out specifically cinematographic instruments which documents with non-conventional creative approaches to film media.
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Split Screen
Peml, Jan ; Čihák, Martin (advisor) ; Dolenský, Martin (referee)
Using of more than one picture on screen opens new possibilities of film editing. I was suprised, that there is no literature attended on split screen technology in Czech language. So I decided to give consideration to the problem of split screen at my Batchelor theoretical work. I would like to focus on specification of using this technique and some crags of it. I built some examples of practical situations and I indicate differences between classical and split screen editing on them. I propose concept of split screen film making from preparing to post production as well.
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