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Jump cut, the cut jumping about conventions of continuity editing
Kozáková, Tereza ; BROTHÁNEK, Adam (advisor) ; ČIHÁK, Martin (referee)
This bachelor thesis examines the discontinuous editing process - jump cut in the theoretical-historical context, as well as in the three film analyzes, both practical and meaningful.
The theoretical part of this work serves to realize the basic principles of shearing composition and, in particular, defines the circumstances that are behind the successful binding of shots in general. The next part of the text is devoted to the technical aspects of the jump cut and the related aspects that are decisive for its composite quality. This part also explores the historical origin of the jump cut on film examples, where it appears first and / or consciously. To a large extent, how much and how the popular film criticism has contributed to its popularization.
Finally, the analysis of the three selected films examine both the useful jump cut and the occasions when it is not. Analysis are specifically intended to characterize the importance of jump cut and its impact on the viewer in the story of the analyzed works and whether, under what circumstances the jump cut contributed to the resulting whole or not of the work.
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TIME LOOP NARRATIVE IN GROUNDHOG DAY, RUN LOLA RUN, AND TIMECRIMES
Ortiz Cordero, Edgar Josue ; DAŇHEL, Jan (advisor) ; Brothánek, Adam (referee)
A time loop narrative is a type of non-linear narrative structure where the story centers on the repetition of either a series of events, i.e., the robbery of a store, a single day, 90 minutes. Characters are often trapped within this machination, doomed to experience a recurrence of events until they find an exit or solution. It is a widely used narrative technique that reminisces of Nietzsche’s “eternal return," the Greek myth of Sisyphus, theWheel of Dharma of Buddhism and the Chinese legend of Wu Gang. This thesis is a study on contemporary time loop films. It discusses the specifics of this type of film and analyzes in-depth a selection of three representative works. Through this analysis, it aims to deconstruct the films into their narrative, and thematic components to find the similarities and differences between them. At the same time, it seeks to give particular attention the elements of film language used in these films.
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Psychoanalysis like a narative tool
Dvořák, Michal ; MALIMÁNEK, Karel (advisor) ; BROTHÁNEK, Adam (referee)
We see the film like a reality because our perception of the film is like
a reality around us. Movie as a dream and like a dream has unique tools how describe our soul and unconscious processes. This advantage is a crucial for my research, how can be useful for understanding how our unconscious works. C. G. Jung and Joseph Campbell and his work helps me with looking for the answer. How can film speak to us through the psychological layer instead of the narrative layer.
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The beginnings and ends of Peter Jackson
Navrátilová, Lucie ; BROTHÁNEK, Adam (advisor) ; Mišúr, Martin (referee)
This bachelor thesis deals with the cinematographic work of New Zealand director Peter Jackson. It explores his transformation from a film enthusiast to a renowned creator with many million dollar budgets. By analyzing his early films and comparing with contemporary films, I am discovering how his formal and narrative practices have changed in connection with his entry into mainstream production.
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Experiencing film dimension in the work of Artavazd Pelešjan
Chernyak, Daria ; DORUŠKA, Tomáš (advisor) ; BROTHÁNEK, Adam (referee)
The time of cinema is coming to an end, while the era of digital technologies is arriving. On the one hand, one may perceive it as a tragedy for cinematography professionals, on the other hand it can be seen as an interesting challenge. The opportunities of virtual reality are numerous, but examples of a thoughtful and conscious approach to them are few. Probably the main question a spectator asks himself in a synthetic environment is: “Who am I in this world?” This work attempts to give an answer to this question from the point of view of filmmakers – What should be, according to the filmmaker, the position of the audience towards their film? I think that this approach will both help to seek for a new means of expression for cinema and also to raise awareness of the possibilities virtual reality and it's possible influence on cinema experience.
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Prologue
Procházka, Jiří ; DAŇHEL, Jan (advisor) ; Brothánek, Adam (referee)
In film, the term “prologue” nowadays denotes almost everything that appears before the opening credits. The meaning of this word is not fixed. This thesis does not define the “prologue” phenomenon and does not wish to describe it in the historical context of art spheres. It deals with the opening scenes at the beginning of a film before the onset of the actual composition of the main story and addresses their functions in the entire dramaturgic structure of the work. To facilitate the apprehension and description of “prologue”, the thesis attempts to generalise the term and classify it into several groups according to defined criteria. It does not set itself the objective of forming a definition but of analysing the dramaturgic structure of a conventionally understood term “prologue” and initiating a discussion on all fronts of the film-making profession about this tool that can do more than just touching up the first few minutes of a film.
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Rustic and acoustic. Editor's work on an audiovisual field
Pospíšil, Matěj ; ČIHÁK, Martin (advisor) ; BROTHÁNEK, Adam (referee)
This paper focuses on sound as an essential structural element in the creation
of an audiovisual work in the editing room. It describes the basic physical, physiological
and psychological effects of sound waves on the human being-editor (and subsequently
on the viewer). It further examines the relationship between sound and image based on a few key concepts developed by theoretician Michel Chion. Examples of a precise and meaningful work with sound are drawn from the analysis of various excerpts of Miroslav Janek's film Chačipe, edited by Tonička Janková.
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The birth of the myth of Dracula and his transformation, not only in the history of film
Klímová, Blanka ; PETRÁŇ, Tomáš (advisor) ; Brothánek, Adam (referee)
The starting point of my work will be a selection of films about Dracula.In this thesis, I would like to address the evolution in the representations of Dracula, from physical appearance to changes in the character, as well as the character development within the story.I want to look into this subject from a broad scope: Not only from the cinematographic context, but also from the cultural, historical and dramaturgical context. I'm interested in the evolution of the archetype of immortality in different cultural manifestations, from body embalming through sculpture, painting, photography to film.
Furthermore, the thesis will study the reassessment of its symbolism, the phenomena of film remaking and the meaning behind the necessity for repetition and reinterpretation of the myth.This work should also ascertain when the reality becomes myth and why.My sources of information will not be only the selected films, but specialized literature by authors such as M. Eliade, B. Fořt and E.Fromm.
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Manipulation with the substance of the animation
Tesáček, Roman ; Brothánek, Adam (advisor) ; Opatrný, Marek (referee)
Thesis analyzes the current international competition of animated films Anifilm 2015. The aim of this study is to describe the fundamental nature of the animation. Identify rules and artistic means used in the films. The focus of the thesis is to the potential elimination or possible elimination of film defects by manipulating the individual images or scenes.
The work is divided into two main parts. The first describes theoretical and schematic knowledge of the animated film focusing on dramaturgy and editing. In doing so, it identifies artistic tools that are at the heart of matter animation. Mentioned are also differences in approaches to short and feature animated films. The practical part consists of a set of analyzes of short and feature-length animated films in competition Anifilm 2015 with regard to the places and scenes in the film that contribute to unclear testify or otherwise distorts theme of the film. Thesis does not omit cinematographic works with clear and precise nature.
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