|
|
Analysis and Interpretation of visual art in the films of Andrei Tarkovsky
Stepina, Anna ; Konečný, Lubomír (advisor) ; Rakušanová, Marie (referee)
The aim of the Bachelor thesis "Analysis and Interpretation of visual art in the films of Andrei Tarkovsky" is to examine the relationship between cinematography and visual arts using the film "Solaris" (1972) by the soviet director Andrej Tarkovsky as an example. This topic is subdivided into two parts. The first part of the study focuses on the subject of perspective in relation to the theory of art history and film, with attention to the concept of "perspective" from the period of the Italian Quattrocento. The second part is concerned with the usage of "living pictures" (fr. tableaux vivant) in the work of Andrej Tarkovsky, more precisely, the role of the cycle "The Return of the Prodigal Son" by Rembrandt van Rijn in the film "Solaris" (1972). The main objective of the thesis is to answer the questionː to what extent painting as a traditional form of visual arts influences cinematography.
|
|
|
Coffee shop as the topic of Czech art of the first half of 20th century
Hnilicová, Eva ; Konečný, Lubomír (advisor) ; Lahoda, Vojtěch (referee)
"Stýkali se lidé na fóru, stýkali se v klášteřích, stýkali se v salónech. Dnes není ani fóra, ani klášterů s tímto významem, ani salónů s tímto ovzduším. Dnes jsou kavárny. "1 píše Milena Jesenská v roce 1920. Kavárna se stala otevřeným místem setkání městskému člověku, který bez pozvání, do ní mohl vstoupit kdykoliv, kdy potřeboval. Vznikly i takové kavárny, které se staly známé po celém městě, shromaždiště duchovního, bohémského a uměleckého jako světa. Společnosti těchto kaváren ve svých diskusích a následně svých dílech literárních, hudebních a výtvarných zhodnocují obdobnou problematiku, myšlenku, námět. Vytvářejí celistvý skupinový (mnohdy i generační) projev, který ovlivňuje dobu následující. Vzniklo by moderní umění, francouzské nebo české, bez kaváren? Bez prostředí, kde umělec bez zakázek nacházel v společných rozhovorech, ale i v uvolněné zábavě spojence proti oficiálnímu proudu nebo veřejnému mínění na cestě za vyjádřením nového, společensky či umělecky aktuálního? Ve Francii se v 70. letech 19. století schází početná společnost "malířů moderního života" v Café Guerbois a pak v Café da la Nouvelle Athénes na Montmartru. V prvním desetiletí dvacátého století žijí "kubisté" v Lapin Agile, ve dvacátých letech je centrem Montparnasse a kavárny 1a Rotonde, Le Dome, Closerie des Lila s. Literární...
|
|
|
The self-portrait in the Czech baroque painting
Kacetlová, Miroslava ; Horyna, Martin (referee) ; Konečný, Lubomír (advisor)
The se1f-portrait in painting is similar to an autobiography in literature. It is an unique testimony of painter' s life and art, of his desires, fears and whishes. It contains its own typical attributes: brusches, a palette, an easel with a canvas and specific studio clothes as well, which point to the painter's profession. Usually the sitter is in the contact with the viewer with the help of his eyes' sight. The deve10pment of the self-portraiture started in the Renaissance period, when the artist se1f-consciousness of his talent and uniqueness of his art spread. Painters started to offend against giuld rules which tied them. An important break into the obsolete system was the attempt to establish an Academy in Prague in 1709. The main authors ofthe project were the painter Michael Václav Halbax, the sculptor František Preiss and the architect František Maxmilián Kaňka. But their progressive idea broke down in the end. The barock self-portraits in the Czech painting were influenced by the previous period - the era of the emperor Rudolf II. and his great painters for example: Bartholomeus Spranger and Hans von Aachen. I diveded self-portraits into five chapters: the self-portraits alone, the se1f-portraits with attributes, the family self-portraits, the se1f-portraits in narative scenes, the self-portraits...
|
|
|
On the road. The mystic and the artist
Trojaková, Jolanta ; Konečný, Lubomír (referee) ; Lahoda, Vojtěch (advisor)
in the Czech art of the first half of the twentieth century. As the mystíc I define this artist, who dedicates his entire life to searching for God- in aU of his forms. In the introduction Bejore the Start I sket ch the spiritual milieu of the tirne. In the first chapter lmages oj Gods I demonstrate the contemporary prototype of the mystical f1uctuate person comparing two artist: Rudolf Adámek and Josef Váchal, who were both deeply involved in many occultism organizations. The second chapter TheWay to the Hereafter speaks comprehensively about the movement of the spiritualism in Bohemia in those days. I focus on the artists, who actively participated in spiritual séances, often having even played the role of spiritual medium. The third chapter Th? Way to the East deals with the oriental philosophies, which thanks to the doctrine of H.P. Blavatsky entered into the lives of many Cz ech artists. They started to practise yoga, studied buddhism and meditate. The new life style inf1uenced also their art. In the last, fourth chapter Thé! Mystical Ladder I tried to describe the way of the mystic - artist step by step fr01'1 tLo, mental state of spiritual beginner to that of the enlightened person. In conc1usion I shortly compare the temperaments of the artists, whose lives and artistic works helped me to...
|
|
|
Czech Producer and the Aspects of International Co-Production
Konečný, Lubomír ; KOPECKÝ, Čestmír (advisor) ; ULDRICHOVÁ, Helena (referee)
This master thesis is focusing on European film industry and on the position of Czech producer in this system. In the beginning is cinematography listed into the system of creative industries and there is a definition of what the producer is. Furthermore are presented the possibilities of financing of audiovisual work in local conditions, which is the necessity for potential co-productions. Significant part of the thesis is dedicated to the analysis of structure of European audiovisual funds, which are Eurimages and MEDIA Desk and producer?s networking. In the case study is described the history of growth of Danish company Zentropa which is one of the most successful European companies based on possibilities which offers European film market. In the end of thesis is in short view described the change of industry connected with entering of digital media and social networks to audiovisual industry.
|
|
| |
|
| |
|
| |
|
| |
|
| |
guest ::
RSS feed.