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The marks of real
Pustina, Petr ; ŠERÝ, Ladislav (advisor) ; DVOŘÁK, Tomáš (referee)
Bachelor Thesis The Marks of Real - Tautological Hallucination and Technical Images deals with the relation of the technical image and reality. Photography is usually seen as a faithful representation of the world in front of the lens. This work, based on the theories of Jean Baudrillard and Vilém Flusser, points out that photography is not an im- print of the world but instead is a signage system that does not refer to the world around us, but to other representational models that preceded it.
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Contemporary development of feminism in the Internet enviroment, approached on The Ardorous collective
Durbáková, Veronika ; JANOŠČÍK, Václav (advisor) ; ŠERÝ, Ladislav (referee)
Master’s thesis analyses the attitude of young female artists, who mostly work with photographic medium, primarily presenting their art works by digital tools, via online platforms. The intention of thesis lies in examination of the group of young female artist, connected by The Ardorous collective, whose members are automatically perceived as feminists, who insist on equality for women in the art world. It also analyses working approach of collective’s founder Petra Collins, as well as some of its most noteworthy members, and contemplates on ideological means leading to their final works. Thesis also describes approach not only to the art practicing, but to the entire constructing of its own public image, by comparing The Ardorous with the british female collective of alike intentions, Bunny Collective. Hypothesis of designated artists are partly interpreted with fragments of text by french creative collective Tiqqun, named Preliminary Materials For a Theory of the Young-Girl [2007, Semiotext(e)].
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Atrocity images and the Audience
Lin, Jun-Ye ; JANOŠČÍK, Václav (advisor) ; ŠERÝ, Ladislav (referee)
Susan Sontag’s reviews and descriptions of agony images is the keystone of war photography. From On photography(1977) to Regarding the Pain of Others(2003), Sontag wrote about how agony images could affect the majority of people. Media ruled photographs and used them as its own container. Through her book, the passiveness of the audiences was examined. She criticised the way of how people looked at an agony image. According to her, audiences constantly consumed other’s pain if the they are far away. She judged repeating formats and simplified messages from media which numb the sensation of people, the surfeit of similar horrendous images turned an audience into a consumer. “Is a photograph ever “real”? she asked. Firstly, within in my thesis I would like to to examine the relevancy of Sontag theory, her interests in emotion in charge of atrocity and pain. To found out the possible respond of the audience, in respect to war in contemporary art photography. When artists have the chance to turn their camera from those atrocity on sites, what could be the differences in audiences’ reactions from traditional war photojournalist. Moreover, Sontag’s concept “the audience as consumers” will be traced back to its basic elements. To scan the particular words and phrase which Sontag used in her two books. Secondly, use Regarding the Pain of Others(2003) as a starting point of the timeline, then search for the critical thoughts which against or support Sontag’s words during the decade. Furthermore, use different concepts of the agony images to examine the remarkable singular atrocity images and the art works relate to war and atrocity. To explore the change according to the interaction between atrocity and contemporary photography and their audiences. After all, use the dialects between the theories and the war in contemporary art photography to extent the perspective from Regarding the Pain of Others(2003) to get closer to our time — to build the the reference of how to see an agony image.
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Mockument
Gradovová, Irina ; KUBICA, Petr (advisor) ; ŠERÝ, Ladislav (referee)
Thesis The Mockumentary is dedicated to the issues of questioning credibility of audio and video messages broadcasted through audiovisual media. Mockuments are trying, through the methods of documentary and fictitous content, to uncover manipulative approach of audiovisual products and they are often mocking documentary itself. The represantation of reality is the most important common issue of the documentary and the mockumentary. Mockuments are questioning the credibility of archival materials as the source of truth about past or any materials which try to act as unprejudiced evidence of the reality. For the appreciatation of the mockument is necessary to have a spectator acquanted with historical, cultural and political context of the piece, the spectator which is capable to uncover its hidden content more tightly allied with the reality than with the fiction.
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Architecture in the utopian/dystopian films of the thirties
Kryvenko, Anna ; CZUMALO, Vladimír (advisor) ; ŠERÝ, Ladislav (referee)
Architecture has always reflected the state of society, as it must adapt to human life. In a worse case, it may be the other way round - people are forced to change their life in order to adapt to the urban environment. Architecture works with the scale, touch and sight, time and space. In this way it is similar to the film as a mean of expression.
This study aims to compare ideas about the future with what was happening in society and art during the creation of various films through focusing on the visual element - architecture. The most obvious way are the visions of the future highlighted in utopian and dystopian films, because this field has always aimed at creating ideal world.
The presented work is focused on the total of a short period of the thirties, because it is the time of creating the utopian/dystopian films as a cinematic genre. It is also a period of great political, social and artistic changes that have affected the history of the twentieth century.
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Million Dollar Baby and American sniper
Jelínek, Martin ; ŠERÝ, Ladislav (advisor) ; Poláček, Vít (referee)
This diploma thesis analyses two films by Clint Eastwood Million Dollar Baby and
American Sniper. Its focus is aimed at the formal storytelling aspects, structure of
the storyline and plot devices in the screenplays. The first film is an example of
misusing these plot devices; the theme being euthanasia remains irrelevant from
the viewers perspective although it was meant to resonate strongly at first.
Analysis of the second film shows us the discrepancy of what the film "wanted" to
be and the actual message it implicitly presents to the audience. Instead of being
an objective reflection of the real events (in this case the war in Iraq) it is on
purpose misleading in presenting of commonly known facts and hence it becomes
propaganda. The analysis of the storytelling devices in this thesis can be also
applied on different films and cinema in general.
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