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Jihlava International Documentary Film Festival’s Industry Programme and Its Benefits For a Producer
Šilarová, Hana ; ŠVECOVÁ, Marta (advisor) ; Tabakov, Diana (referee)
The present thesis explores the industry programme of the Jihlava International Documentary Film Festival, as well as the ways producers benefit from it. This festival has a long-term tradition organizing programmes for film professionals. The individual components of the programme are conceived, respectively, for participants of various professions, for instance festival directors or film directors, with its main section, Emerging Producers, aimed at starting European producers.
The first part of the present work describes the history of Jihlava IDFF and the individual sections of its industry programme, while the second part compares the festival to two other ones of similar size, namely CPH:DOX and Visions du Réel Nyon, whose conceptions differ to a significant extent from Jihlava’s. The last section of the thesis, drawing in part on online questionnaires administered to Emerging Producers participants and to the producers of films competing at the festivals in question between the years 2012 and 2016, examines the contribution industry programmes bring to producers.
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Film Industry and Audience Development
Pojarová, Karolína ; KOPECKÝ, Čestmír (advisor) ; Horák, Petr (referee)
A study with elements of research and culture theories dedicated to the theme of an involvement of film industry players in the audience development field. The work is aimed at film professionals predominantly and its goal is to present the potential of film literacy and its use for the industrial sector. Positive examples from the European audience development practice are mentioned in order to draw inspiration to the Czech environment. Last but not least, several ways of participation of Czech film producers and distributors in the audience development initiatives are proposed.
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Creativity Iin Producing Practise
Mahler, Jakub ; KALLISTA, Jaromír (advisor) ; VLACH, Jiří (referee)
This Baccalaureate thesis aims to examine the creative component of Czech film producers' work: to what extent finished projects match the original ideas and which methods are used to maintain a direction in the development and realization stages of the film production. This work attempts to describe the types, methods, possibilities and tendencies of the producers' creativity, and also examine the creative part of their work in general.
Based on both historical and current analyses, case studies (both published and original ones) of individual films, and interviews of producers and directors, the author explores the producers' approach (choice of the film material, producers' visions, social and artistic ambitions) and their methods at individual production stages (how much freedom they give to the creative professionals and to what extent they intervene with the film's production). The author of this thesis then compares and contrasts the various film production styles and provides a comprehensive synthesis.
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Czech Producer and the Aspects of International Co-Production
Konečný, Lubomír ; KOPECKÝ, Čestmír (advisor) ; ULDRICHOVÁ, Helena (referee)
This master thesis is focusing on European film industry and on the position of Czech producer in this system. In the beginning is cinematography listed into the system of creative industries and there is a definition of what the producer is. Furthermore are presented the possibilities of financing of audiovisual work in local conditions, which is the necessity for potential co-productions. Significant part of the thesis is dedicated to the analysis of structure of European audiovisual funds, which are Eurimages and MEDIA Desk and producer?s networking. In the case study is described the history of growth of Danish company Zentropa which is one of the most successful European companies based on possibilities which offers European film market. In the end of thesis is in short view described the change of industry connected with entering of digital media and social networks to audiovisual industry.
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Marketing strategies in the development stage of a film project
Sedláčková, Dagmar ; OUKROPEC, Petr (advisor) ; VLACH, Jiří (referee)
The bachelor thesis is concerned with the marketing strategies in the development stage of a film. Its aim is to describe the substeps which a film producer should take in the course of the development in order to provide possibly the best conditions for its realization and production and to succeed on the European film market. Individual chapters focus on film marketing from the development of the original idea to the screenplay until its presentation to the target audience, in this stage the film professionals. In the conclusion I will address the issue of how these producer's activities and operations are positioned in the context of the ordinary practice in the Czech Republic.
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Producers Dramaturgy
Stránská, Martina ; KALLISTA, Jaromír (advisor) ; ŠUSTER, Jan (referee)
In my bachelor thesis, I deal with producers dramaturgy, meaning what is the role of the producer in the creative process of making a (feature) film. Due to the lack of written sources, I used the method of dialogue between among and Czech producers. I am interested in all the aspects they have influence on. All the producers were given the same questions dealing with developing the theme, building the creative team and postproduction including the distribution strategy. As a result, I try to answer the question whether Czech producers are creative and whether there exists films that can be called producers films.
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Historic Film in Contemporary European Cinematography from the Viewpoint of the Producer
Kalandrová, Pavlína ; PRAŽSKÝ, Přemysl (advisor) ; BOBIŇSKI, Filip (referee)
Historic film genre serves here as a model example of a demanding film project in contemporary European cinematography. We want to explore the problems of development and financing of historic films. The basis of the research is the idea that historic films are mostly producer projects because of their commercial potential.
The genre of historic film is explained here from two different points of view: Film theory and film history. The concept of European cinematographic work and the ways of financing European co-production films are shortly presented. Further we describe what a producer follows and influences during his work on a historic film. The gained knowledge is then applied on five case studies. Reflections of the film producers form a part of these studies.
The result of the research is the statement that the quality and artistic value of a film go across the film genres just as the producer's or the director's approach to a film project do. To shoot arthouse oriented historic films is more risky from the commercial point of view. At the same time only in this way the film will be unique, can survive for decades and can really be successful all over the world.
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