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Czech feature Films of Horror Genre in Years 1968-1989
Královičová, Jana ; Beneš, Zdeněk (advisor) ; Čechura, Jaroslav (referee)
This bachelor work deals with the issue of the Czech horror movie in the normalization period when cinematography was significantly affected by censorship as a powerful tool of the establishment of the Czechoslovak communist state. The first chapter is examined horror as the term itself and what this concept represents, then origin of horror genre in the European and Czech backround until it becomes relatively stable and well-established genre of world cinema in early twentieth century. In the second chapter I describe a summary of historical development of institutions of Czech Cinematography and the final third chapter deals with individual films that are either horror movies or have strong horror characters. Part of this Chapter is short preview to period before years 1968-1989, and the following period after the year 1989 to these days. The work focuses on the fiction feature films however an integral part of this horror genre in the Czech background are animation movies as well that are described in a short subchapter.
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The First Czech Queer Films from the Perspective of Queer Theory and Reception Studies
Hezinová, Sandra ; Hanáková, Petra (advisor) ; Svatoňová, Kateřina (referee)
The following bachelor's thesis focuses on the queer topic in the contemporary Czech feature cinema. In detail it analyses two films - The Country Teacher and Dolls, which were the first films in the history of Czech cinema who's main characters were ingenuously homosexual. The first part examines chosen films in the context of existing cinematographic tradition and describes the principles on which the film representation of gays and lesbians works. The main part analyses The Country Teacher and Dolls from the ideological perspective and tries to expose, how the heterosexual discourse operate in chosen films. By using the methodology of the queer theory it also describes, how are the information about gender and sexual identity organized. In the following chapter the films are explored in a broader section of cinematographic institution It concerns film's PR strategies and commercial campaigns on one hand and critical responses in the contemporary press on the other hand. The final part is founded by the reception study of queer audience, which coprehend not only the spectator's experience of chosen films, but reception modes and readers strategies as well.
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The Image of the Artist in Czech Feature Films after 1948
Šlingerová, Alena ; Klimeš, Ivan (advisor) ; Přádná, Stanislava (referee)
After the Czechoslovak coup d'état of 1948, the cultural politics of the Communist Party became the only power that should organize, regulate and evaluate cultural affairs. This brouht radical changes of the status of artists. That artists who belonged to the rank of intellectuals had to follow needs of the new kind of society. They accepted orders from above and their activity was strictly controlled. Proletarian amateurs and folk art were officially encouraged. The examples of the progressive art were found in the USSR and also among personalities from the history of the national culture. Cinematography, to which was placed a requirement of topicality, also presented the new image of the artist. The most noticeable results were reached in biografical films about our classics and films exposing folklore and cultural life of the working class. The integration of an intellectual artist into the new society became a pivotal theme in movies Písnička za groš and Nezlob, Kristino. As episodic characters, we can find also completely negative types of artists - enemies of that new society. This spectrum corresponds to a general typology of people that was used in art, journalism and public speech in general: mature, confused and totally inadaptable (designed to be displaced). Exeptional cases of...
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