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Kliment, Michal ; Bednařík, Petr (advisor) ; Šobr, Michal (referee)
The rigorous thesis The Picture of the Media in the Czechoslovak Film from 1930 to 1949 presents the role of the media and their representatives in the Czechoslovak feature pictures released from 1930 to 1949. Its aim was to introduce the picture of the media in these two decades as well as to describe how this picture was influenced by the technological, social, and political changes in this period. The second purpose of the thesis was to present how the cinematography was connected with the contemporary journalists, both Czechoslovak and foreign ones. The opening part of the thesis defines the analyzed pictures and the reasons of their enlistment into the analysis - the presentation of the media (the press, the radio, the press agency, the newsreel, and developing television) or their representatives. The pictures were divided into two selective sets. The primary analysis contains the pictures with significant representation of the media. The secondary analysis contains the pictures with marginal representation of the media. This chapter resumes also the shortcut pictures with the representation of the media and the pictures indirectly related to the media. The following second chapter summarizes the historical context of the involved period with the stress on the social, technological, and economic...
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"Gulliver on the Back of a Whale." Media Image of Pavel Juráček's work in 60s and 70s and after 1989
Kokta, Josef ; Bednařík, Petr (advisor) ; Novotný, David Jan (referee)
The goal of the master thesis deals with the media image of work of a screenwriter and director Pavel Juráček in the Czechoslovak and Czech press in 1960-1970 and after 1989. Juráček was one of the most outstanding filmmakers of so-called Czechoslovak New Wave, whose career was stopped because of The Warsaw Pack Invasion in Czechoslovakia and following restoration of firm rule of a communist party. That's the reason why a first research period is set to 60s and early 70's when Juráček was going through his main artist evolution. The part of the thesis is focused on his films: The Cars without Homes (1959), The Dynamite Watcher (1960), Black-and-White Sylva (1961), Ikarie XB 1 (1963), Joseph Kilian (1963), A Jester's Tale (1964), Nobody Gets the Last Laugh (1965), Every Young Man (1965), The End of August at the Ozone Hotel (1966), Kino-Automat - Man and His house (1967) and Case for the New Hangman (1969). The second shorter part of the thesis is focused on the transformation of the media image of Juráček's work after his death in 1989 mainly because of publishing of his literary heritage, most importantly his diaries.
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Realism in the Czechoslovak crime films from 60's (with the emphasis on the figure of criminalist and criminalistic methods)
Staňková, Nikola ; Štoll, Martin (advisor) ; Bednařík, Petr (referee)
Films and series with criminal themes are very popular among audience. They also have quite a long tradition in the Czech (Czechoslovak) cinematography. Specifically in the 60's a lot of quality films with detective plots were made and they are appreciated among the audience until today. They are also repeated in television frequently. These films demonstrate both crime and further investigation, focused on the police activity. This representation is frequently portrayed as a reality and the audience tend to view it as such. Therefore, it is interesting to observe if this representation corresponds to real forensic practice. This diploma thesis deals with the given matter. It analyses five Czechoslovak crime films from the 60's and its goal is to determine if the forensic methods correspond to then reality. It also focuses on the figure of the investigator as the representative of the law and as the main character. The first part of the thesis is comprised of the theoretical background. It describes the principles of film narrathology and mainly the principles of forensic methodology and practice. The second part of the thesis is practical. The theoretical background is applied here to analyse each of the chosen films. The summary responds to the research question and summarizes results of the analysis.
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"Gulliver on the Back of a Whale." Media Image of Pavel Juráček's work in 60s and 70s and after 1989
Kokta, Josef ; Bednařík, Petr (advisor) ; Novotný, David Jan (referee)
The goal of the master thesis deals with the media image of work of a screenwriter and director Pavel Juráček in the Czechoslovak and Czech press in 1960-1970 and after 1989. Juráček was one of the most outstanding filmmakers of so-called Czechoslovak New Wave, whose career was stopped because of The Warsaw Pack Invasion in Czechoslovakia and following restoration of firm rule of a communist party. That's the reason why a first research period is set to 60s and early 70's when Juráček was going through his main artist evolution. The part of the thesis is focused on his films: The Cars without Homes (1959), The Dynamite Watcher (1960), Black-and-White Sylva (1961), Ikarie XB 1 (1963), Joseph Kilian (1963), A Jester's Tale (1964), Nobody Gets the Last Laugh (1965), Every Young Man (1965), The End of August at the Ozone Hotel (1966), Kino-Automat - Man and His house (1967) and Case for the New Hangman (1969). The second shorter part of the thesis is focused on the transformation of the media image of Juráček's work after his death in 1989 mainly because of publishing of his literary heritage, most importantly his diaries.
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Kliment, Michal ; Bednařík, Petr (advisor) ; Šobr, Michal (referee)
The rigorous thesis The Picture of the Media in the Czechoslovak Film from 1930 to 1949 presents the role of the media and their representatives in the Czechoslovak feature pictures released from 1930 to 1949. Its aim was to introduce the picture of the media in these two decades as well as to describe how this picture was influenced by the technological, social, and political changes in this period. The second purpose of the thesis was to present how the cinematography was connected with the contemporary journalists, both Czechoslovak and foreign ones. The opening part of the thesis defines the analyzed pictures and the reasons of their enlistment into the analysis - the presentation of the media (the press, the radio, the press agency, the newsreel, and developing television) or their representatives. The pictures were divided into two selective sets. The primary analysis contains the pictures with significant representation of the media. The secondary analysis contains the pictures with marginal representation of the media. This chapter resumes also the shortcut pictures with the representation of the media and the pictures indirectly related to the media. The following second chapter summarizes the historical context of the involved period with the stress on the social, technological, and economic...
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The influence of the communist regime on the process of Czechoslovak film in the fifties and sixties of the 20th century
Mutl, Lukáš ; Szobi, Pavel (advisor) ; Dufek, Pavel (referee)
This diploma thesis discusses the process of Czechoslovak cinema in the fifties and sixties of the 20th century in the communist régime and under the Soviet influence. Labour analysis one of the most exciting period of Czechoslovak history in which alternated years of heavy dictation with years of social and cultural release. The first part focuses on the issue of nationalization of the film in the early fifties. The second part deals with the circumstances of the beginning of the brightest period of Czechoslovak cinema, new wave. The third part describes consequences that August 1968 and subsequent standardization had for local filmmakers. Throughout the work are surveyed facts commented by former protagonists of the time, Antonin Jaroslav Liehmem and Jiri Menzel, who gave interviews for the purposes of this study, the full text of these interviews are also included at the end. The goal is to find answers to questions about how much the Czechoslovak cinema was influenced by the Soviet Union, than if nationalization of cinematography had only negative or even some positive consequences, whether the emergence of a new wave was just an accidental phenomenon or if it was the inevitable answer to the former policy and whether it could be possible to the new wave arise in today's conditions.
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