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Beyond (classical) adaptation
Jindřichová, Markéta ; Mravcová, Marie (advisor) ; Petříček, Miroslav (referee)
Film adaptations are often confronted with criticism that they distort, reduce or picture inaccurately the original. The film was and often still is traditionally treated as an illustration of literary original, and thereby is a priori doomed to be always worse than the original. In my work I focus on such kind of film adaptation, which is an original piece of art and which doesn´t sponge on the literary model, but is rather a mutation in another (audiovisual) media. On example of three specific adaptations, which in my opinion break these criteria, I want to show how filmmakers transform the original text into the peculiar and original film work. The three mentioned adaptations fully utilize their potential (i.e. the possibility of a new organization of time, space, rhythm, character, etc.) and also represent a certain degree of metamorphosis, interpretations, updates, and independence from the original text.
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Detective genre and tension creating in Petr Schulhoff' films
Soukupová, Irena ; Dufek, Jiří (advisor) ; Mravcová, Marie (referee)
This thesis focuses on the detective genre and creating of tension in three Petr Schulhoff?s detective films. It tries to describe rules of a good detective story construction and directorial and screenwriting techniques for tension creating in films. Petr Schulhoff?s films are exceptional by their visual authenticity, compliance with the rules of detective genre and especially by the tension which creates a unique atmosphere.
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The Castle
Škampová, Alexandra ; Mravcová, Marie (advisor) ; Vajchr, Marek (referee)
The aim of this theoretical work is to evaluate the possibilities and ways of a new adaptation on the base of comparing critical resources and analysis of former films.
I tried to collect maximum of resources without the necessity of interpretation of Kafka´s work. I aimed to compare complementary and contradictory resources at the same time.
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Wes Anderson as a part of current pop culture
Hruška, Tomáš ; Dufek, Jiří (advisor) ; Mravcová, Marie (referee)
In my work I am focusing on the personality of the director and screenwriter Wes Anderson, and its impact on his films Rushmore, The Royal Tenenbaums, and Life Aquatic with Steve Zissow.
There are just a few directors whose style is recognizable after only a couple of scenes. Wes Anderson is one of them. He is considered an original screenwriter whose work has been appreciated by French New Wave. Anderson continues in the tradition at such directors as Jean Renoir, Orson Welles, Louis Malle, Francois Truffaut, Peter Bogdanovich, Martin Scorsese. He is "cinephile" whose work is full of allusions to works the aforementioned directors. He borrows scenes, copies style, reuses costumes and names, and even directly borrows characters of his popular movies. As a respected screenwriter Anderson oversees every part of his work. From scene construction, through choice of costume and music, to the selection of fonts of captions. The degree of intertextuality in Anderson's work is huge, and doesn't end only with allusions to film. He uses myriad references: literary (Fr. Scott Fitzgerald, J. D. Salinger, Jules Verne), music (Beatles, Rolling Stones, Velvet Underground and Nico), comics (Peanuts), and photography (pictures of J. H. Lartique). These are all his aesthetic inspirations.
This degree of intertextuality is the primary of my work. I analyze individual aspects of Anderson's work, and illuminate his style to readers of his screenplays and viewers of his films. Anderson is influenced by the pop culture, in which he grown up, and makes from it his own unique style and nostalgic world; and with it he formalizes an actual pop culture.
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Oliver Stone: History and Fable-making
Viktora, Zdeněk ; Ulver, Stanislav (advisor) ; Mravcová, Marie (referee)
The diploma thesis deals with Oliver Stone?s films, particularly with the director?s approach to film representation of historic reality, as well as with the genesis of his political viewpoints, his conflicts with renowned historians and his work methods. The thesis searches for answers regarding the objective character of history and possibilities of its film representation.
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Gaspar Noé
Sláma, David ; Ulver, Stanislav (advisor) ; Mravcová, Marie (referee)
This diploma thesis aims to analyze and interpret the entire filmography of the Argentinian-born (1963) film-maker Gaspar Noe. It takes into account not only such well-known, critically acclaimed, and controversially received films as Seul contre tous (1998) and Irréversible (2002), but also Noe's short movies, commercial spots, and music videos.
The thesis examines the central themes of Noe's cinema, among them, the relationship between sexuality and violence, revenge and its consequences, the individual standing against society. It describes in detail Noe's film language, traces the development of that language, and suggests where to look in the history of film for material that sheds light on the work of this remarkable French film-maker.
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The Language of Minimalism in Script of the Film and Film "The Son" by Brothers Dardenne
Poláček, Vít ; Mravcová, Marie (advisor) ; Vajchr, Marek (referee)
Summary of bachelor thesis
In the year 2002 new film called Le Fils (The Son) realized by brother duo Luc and Jean-Pierre Dardenne was presented in competition of Cannes Film Festival. The aim of this thesis is description of dramaturgical conception of this film, its interpretation and comparison of original script with the final form of the film. Additional scope is how this script was written, what it was influenced by, and why it is built the way it is. Moreover, subject of this contribution is the style of Dardenne brothers as film minimalism and the question what kind of minimalism can be found in history of music, in fine art, and in literature. And is it correct at all to call the style of these filmmakers from Belgium as minimalism?
The bachelor thesis is supported by translation of original script which is in supplement.
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