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Connection between film and visual art in the 1st half of the 20th century
Jouzová, Tereza ; Arbanová, Linda (advisor) ; Jakubcová Hajdušková, Lucie (referee)
Jouzová, T.: Connection between film and visual art in the 1st half of the 20th century, [Master thesis], Prague 2017-Charles University, Faculty of Education, Department od Art Education, , 150p. (Attachments: art work of pupls and my own work on DVD) Master thesis is focused on connection between visual art and film in the1st half of the 20th century from the perspective of art history and film history and theory of filmu. It deals with significant art and cinematic styles, trends and lines which connects the sphere of film and visual art. I enrich the historical context through etymological point of view on the modern art and I use subjective associations to this etymological contexts. The mutual content, stylistic and artistic bases are substantiated by the examples of visual artists interested in making movies. In the theoretical text are indicated some didactic subtopics related to the subscribed topics out of artistic view. Some of these inserts can be used separately, some of these are connected to the didactical part of the work. There are the projects linking art and film production in a historical context. Knowledge and experience I've gained of the preceding parts of the text are reflected in my own multimedial instalation. KEYWORDS film avantgarde, modern art, expressionism,...
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Jonas Mekas
Hlaváčková, Hedvika ; POSPISZYL, Tomáš (advisor) ; RŮŽIČKOVÁ, Alice (referee)
The subject of this theses are the films of Lithuanian avant-garde artist, organizator and original interpreter of life, Jonas Mekas. Specifically I'm dealing with the development of his work from the complex film-diaritical sagas to video pieces presented on his web side. I'm exploaring where does he see the diference between the way he captures life and what we call documentary film, what does a reality means to him and how does he get closer to it's essence with the help of his camera. I'm observing how did the recent technical development effected his work - the arrival of video, computers and subsequently internet. I'm trying to understand where does diary-film stand in the frame of history of cinema and where is it's place in the context of the contemporary art scene.
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The Electrical Enterprises of the City of Prague and Avant-garde Films
Krejčová, Kateřina ; PETŘÍČEK, Miroslav (advisor) ; VOJTĚCHOVSKÝ, Miloš (referee)
This paper, based on archival and period media research, tries to describe the relationship between the Electrical Enterprises of the City of Prague and the Czechoslovak avant-garde in the 1920's and 1930's. The Electrical Enterprises of the City of Prague helped to carry out several exceptional film and intermedia projects through their regular advertising contracts, including the film Praha v záři světel (Prague by Night, 1928), Zdeněk Pešánek's light-kinetic sculpture (1930) or the short experimental film Světlo proniká tmou (Light that Penetrates Darkness, 1931). There are also screenplays in the company archives which have never been realized but demonstrate much about the relationship between advertising and art in the interwar period. The author emphasizes the role of the public's general fascination with electrification, artificial light in the modern city and new forms in the collectively shared public space.
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Sound track
Švarcová, Johana ; BENDOVÁ, Helena (advisor) ; ŠERÝ, Ladislav (referee)
I am interested in the sound track's autonomy within the framework of a film, and in the specific characteristics of a sound track's relation to the missing picture. I am equally interested in sound tracks in movies that are almost devoid of picture: films where the picture retreats and leaves the film space to sound. At present, film is usually understood as an audiovisual medium, with most audiences preferring picture to sound. In other words, in film, the majority views the picture as the foreground and the sound track as the film's background, something that accompanies it. From this perspective, I am interested in what is "hidden" for an average film viewer in the background of the film. In his text The Aesthetics of Failure, Kim Cascone explains the focus on the background in the following words: The basic composition of 'background' is comprised of data we filter out to focus on our immediate surroundings. The data hidden in our perceptual 'blind spot' contains worlds waiting to be explored, if we choose to shift our focus there. A part of my text is an analysis of Walter Ruttmann's film Wochenende, 1930. The text is also partially dedicated to works researching the border of visuality (e.g. Malevich's Black Square).
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