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The State and Historical Film (1945-1956)
Egermajer, Jakub ; Klimeš, Ivan (advisor) ; Česálková, Lucie (referee)
This master thesis deals with evolution of the historical and historical-biographical film genre in the cinematography of the Third Czechoslovak Republic and the subsequent Stalinist dictatorship, that is in the years 1945 to 1956. It examines the role played by motion pictures of this genre within the official cultural policy of the post-war and post-1948 era. The thesis deals with both realized and unrealized film projects of the said period. It suggests that those form a single free cycle connected by its ideology and included in the wider cultural tendency known as Historicism. The examined films follow up on older Czech cultural traditions, both in terms of artistic treatment and of ideological message. In particular their visual conception reproduces the historical paintings of the 19th century, which were well known to general public at the time of the films' production. Pictures analysed in the main part of this thesis view Czech history in a manner, that is - at least in general terms - consistent with historiography of the 19th Century National Rebirth (e.g. František Palacký) and its later popularizers (e.g. Alois Jirásek). However that view of Czech history, dominant since the later stages of the National Rebirth, is presented in the examined films with siginificant changes, most of the time implicit...
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Genesis of film education in Czechoslovakia
Micajová, Nikola ; Klimeš, Ivan (advisor) ; Czesany Dvořáková, Tereza (referee)
My bachelor's thesis examines the historical development of film education from the late 1910s to the period of the Protectorate of Bohemia and Moravia in Czechoslovakia. I explore its beginnings through courses and "kinoškoly", as well as numerous proposals for a film academy. During this period, I particularly observe the activities of institutions involved in film education for youth and their influence on the film industry. Within the context of the protectorate, I focus on analyzing the changes in the concept of the film academy and the key actors in this process.
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Opening and Sealing Audiovisual Cracks: Music and (Dis)continual Montage Sequences in the Films of Terrence Malick
Kinzl, Jan ; Svatoňová, Kateřina (advisor) ; Klimeš, Ivan (referee)
Terrence Malick's filmography has already been discussed many times in film studies literature. Most often, it is interpreted through philosophical, psychological or religious concepts that emerge directly from the themes of the individual films. However, only minimal attention has been paid to the music in his films and its reflection, even though it is often the key driver of the atmosphere, themes and the overall narrative structures. The object of this thesis is this neglected aspect and its theoretical-analytical unfolding within (dis)continuous montage sequences that underpin the loose narrative structures of Malick's films and their overall poetics. This bachelor thesis focuses on three concepts that are not quite common within film- music theory and builds its basic structure upon them - the musical suture, the intertextual interpretation of pre-existing film music and the graphic visualisation of the image-music relationship. Although each of the chapters delves into one of these themes, a central question runs throughout the work - are continuous-sounding musical compositions able to function as a cohesive for the cracks in discontinuous sequences? And if the answer is ambiguous, could the viewer, through active participation,heal these discontinuities-whether through intertextual...
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Krakatit Twice Differently - The Case of the Most Famous Czech Autoremake
Sýkorová, Adéla ; Česálková, Lucie (advisor) ; Klimeš, Ivan (referee)
This bachelor thesis deals with the film The Dark Sun (Temné slunce, Otakar Vávra, 1980) as the second film adaptation of Karel Čapek's novel Krakatit from 1924. From the current point of view, The Dark Sun is perceived as a remake of Vávra's first film Krakatit (Otakar Vávra, 1948). This thesis pursues the question whether the film was perceived as a remake (or as a new version of an older film) even at the time of its official premiere, and how the then Czech criticism felt about this fact. First, on the basis of foreign specialist literature, thesis defines the very concept of remake as it was understood at the time of The Dark Sun's creation. According to this definition, it determines whether any of the then Czech critics viewed The Dark Sun in the same way as foreign experts would view it. It also provides the necessary context for the analysis of criticism in the period of normalization in Czechoslovakia and, above all, the conditions in the Barrandov Film Studio, in which the films of that time were made. On the basis of this context and traceable interviews with the filmmakers, it conducts a survey of the development of the film itself. Its main goal is primarily an exploration of contemporary Czech discourse on the topic of film remakes through Dark Sun and articles from the period press...
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"A Song for Rudolf III" in Context of Evolution of the Television Song
Koulová, Pavlína ; Szczepanik, Petr (advisor) ; Klimeš, Ivan (referee)
(in English): The subject of this thesis is the TV show Píseň pro Rudolfa III. ("A song for Rudolf III.) broadcasted by Czechoslovak Television from 1966 to 1968, its connection to "television song" and formal transformation during the production. The goal is to document how individual creators of the tv show used mechanisms of television song - a czechoslovak precursor of music video - to advance goals of institutions they represented. And how they were able to do so within the socialist economic system. The research consists of analysis of corporate documents from Czechoslovak Television, Czechoslovak radio, state label Supraphon and Rokoko theater, analysis of documents linked to the production of the tv show itself (mostly scripts) and consumer goods created to promote the show in the time of its first broadcast. Historical magazines and musicological literature are used to illustrate the workings of the popular music industry in the 1960s. The analysis suggests that the various goals could not be met by one stable mechanism. Instead the tv show underwent constant formal change, which is described step by step in the last chapter. Along with the show, the consumer goods related to it changed too.
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"Four Murders Are Enough, Darling" and "You Are a Widow, Sir!": A Comparative View of Scripts and Their Final Screen Versions
Karas, Daniel ; Přádná, Stanislava (advisor) ; Klimeš, Ivan (referee)
This bachelor thesis deals with the crazy comedies "Four Murders Are Enough, Darling" by director Oldřich Lipský and "You Are a Widow, Sir!" by Václav Vorlíček. What these two films have in common is not just the crazy comedy genre and the year of production. The abovementioned movies also share a co-starring Miloš Macourek, distinctive black humour and recurring comedic actors. The aim of this thesis is to uncover the specificity and uniqueness of both films and their screenwriting tandems through a comparison of the scripts and the resulting audio-visual works. My main concern is whether the screenwriting basis was eventually fulfilled in the resulting work or, as the case may be, what it was initially and how that idea differs from the finished film. For this comparative analysis, I use the instruments of the British theorist of screenwriting I. W. Macdonald, and mostly his term and concept of screen idea.
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Karlovy Vary International Film Festival Identity Construction from 1990 to 1994
Kasnarová, Petra ; Česálková, Lucie (advisor) ; Klimeš, Ivan (referee)
The purpose of this dissertation is recognition and description of various aspects which had an effect on the identity formation of the Karlovy Vary International Film Festival within the timeframe from 1990 to 1994. Within the context of socio-political changes of the first half of the 1990s in Czechoslovakia (and later Czech Republic), it explores the organisational and conceptional changes of each festival volume. This case study is based on an interdisciplinary field of Film festival studies, which perceives festivals as places of interconnected discourses and practices. The process of identity formation is herein examined in terms of several possible axes of festival research, based on classification suggested by Skadi Loist and Marijke de Valck. Specifically, the programme (film) axis as well as the economical and institutional axes, which enable to assess curatorial decisions, economical function of the festival and its inner organisational changes in the context of both national film industry and international film festival circuit.
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Art historian and film. Cinematographic activities of Jiří Kotalík in the years 1967-1990
Poláková, Ivana ; Klimeš, Ivan (advisor) ; Přádná, Stanislava (referee)
Jiří Kotalík (1920-1996) was an important historian, theoretician and critic of fine arts and long-term director of the National Gallery in Prague (1967-1990). Although his primary focus was the fine arts, his personal archive contains evidence of his long-term collaboration with film institutions and Czechoslovak Television. Kotalík was a member or a chairman of the jury at several Czechoslovak and foreign film festivals, as an expert advisor he participated in a considerable number of films and programs about fine arts, mainly from the production of Short Film and Czechoslovak Television, and as a director of the National Gallery in Prague he strove to connect film and fine arts as part of exhibition practice. The aim of this thesis is to familiarize its readers with this hitherto untouched topic.
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In Pool of Blood. Crime Films and its Production Cycles between Various Participants of Czechoslovak Nationalized Cinema (1945-1965)
Mišúr, Martin ; Bláhová, Jindřiška (advisor) ; Klimeš, Ivan (referee) ; Hain, Milan (referee)
The starting point of this dissertation thesis is a question relating to the assumptions of fictional, long-length crime films in the environment of the nationalized Czechoslovak cinema. The underlying research covers in depth the period between the years 1945 and 1965. The time period covered by this thesis begins with the moments of the May liberation and the August nationalization in Czechoslovakia and ends with the phase of a partial exhaustion of production cycles and genre designations. Since the mid-1960s, these films have established themselves and have successfully withstood numerous production and socio-political collisions for several decades. The main objective of this thesis is to clarify what was behind this genre development. Methodologically, the thesis applies the genre theory and benefits specifically from the research into production cycles adapted to the domestic environment. The definition of a production cycle - a thematic pattern occurring in a production application that is implemented regularly and without interruption over a period of several years - is adopted from the already existing definitions formulated by researchers who proposed this term (Rick Altman, Steve Neale), as well as (and especially) from those researchers who developed the relevant stimuli in their complex...
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