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Three Versions of Solaris
Grajciar, Marek ; MRAVCOVÁ, Marie (advisor) ; VAJCHR, Marek (referee)
Diploma thesis deals with three forms of Solaris. Specifically with novel by Stanislaw Lem, a film adaptation of Andrei Tarkovsky and the second film adaptation of Steven Soderbergh. The aim of this work is comparison of individual authors practices that led to different semantic tone. Thesis analyzes six basic aspects of individual works: basis, genre, semantic structure, syntactic structure - a dramatic structure, characters and space-time.
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Key sequence in the films of directors who work with long sequence shots and with stylization
Ruzyak, Pavel ; BERNARD, Jan (advisor) ; KLEPIKOV, Milan (referee)
This thesis wants to explore long shots alongside with stylization in cinema.
Through three directors are explored possibility and problematic of cinematographic expression through long shots and stylization. Stylisation is connected mainly with mis-en-scène and particular aspects of it – acting, film decoration/props, film space, film sound,...
The terms stylisation and long shot (plan-séquence) are analysed and explored on its own and in the films of the chosen directors.
The main analysed directors are Andrei Tarkovsky, Carl Th. Dreyer and Béla Tarr and their three films (in the same order) - Sacrifice, Gertrud and Satantango.
The chosen directors are from my point of view the best example of the use of stylisation and long shots due to their artistic clarity and coherence.
I try to base this work mostly on my own analysis and thoughts about long shots and stylisation based on the literature, films and my own film works, although I also use quotations from directors/authors and quotations from theoretical works.
The thesis in its form is closest to the analytic and essay study.
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Film as an organism and as a machine
Šindelka, Marek ; DUFEK, Jiří (advisor) ; BERNARD, Jan (referee)
Abstract
The thesis focuses on comparsion of theoretical aproaches of Sergei Eisenstein, Dziga Vertov and Andrei Tarkovsky, as a three completely different positions on a scale between organic and mechanic film. Each of these positions has its own specific temporality, according to editing method used by the artist: Eisenstein's dialectic montage in the mode "human-nature", Vertov's dialectic montage in the mode "eye-material", and Tarkovsky's antidialectic montage of self-generating film structure based on time pressure within the shots.
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Sven Nykvist and his work with light
Kainrathová, Edita ; ŠLAPETA, Ivan (advisor) ; JÍCHA, Marek (referee)
The subject of my thesis is the work of the cinematographer Sven Nykvist. The
center of the work is the subject of light, its analysis, its meaning and use in a
film`s story. In the conclusion of my work I mention his worldwide success.
Based on his biographical data I attempt to look into his personal life, and on a
more general level, I consider the theme of creative work versus personal and
family life.
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