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Analysis of the TV series Hannibal through queer masochistic theory and masochistic aesthetic
Spišáková, Karin ; Česálková, Lucie (advisor) ; Svatoňová, Kateřina (referee)
This bachelor thesis is a theoretical analysis of the TV series Hannibal, which was broadcasted on American television NBC from 2013 to 2015. Hannibal has gained a dedicated fandom coming up with various interpretations and theories, but it also got the attention of academic scholars from various disciplines. It has become popular for its queer-coded characters, including the main characters Hannibal and Will, despite the fact, that their relationship had never been explicitly depicted as romantic or sexual. Later in the story, the respected psychiatrist Hannibal Lecter is revealed as a serial killer and a cannibal. Hannibal could be considered a stereotypical sadistic psychopath, who only sees his victims as pigs. Nevertheless, I will analyse his relationship with Will through the prism of the masochistic world, and I will argue why. The aim of this paper is not creating a psychological profile either of Hannibal or Will, nor answering the question whether one of them is a sadist or a masochist. Instead, I am focusing on the development of the relationship dynamics between Will and Hannibal, while framing it within masochistic narrative and formal structure and queer theories. My primary starting point will be Deleuze's critique of complementary vision of sadomasochism by psychoanalysis and his...
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The State and Historical Film (1945-1956)
Egermajer, Jakub ; Klimeš, Ivan (advisor) ; Česálková, Lucie (referee)
This master thesis deals with evolution of the historical and historical-biographical film genre in the cinematography of the Third Czechoslovak Republic and the subsequent Stalinist dictatorship, that is in the years 1945 to 1956. It examines the role played by motion pictures of this genre within the official cultural policy of the post-war and post-1948 era. The thesis deals with both realized and unrealized film projects of the said period. It suggests that those form a single free cycle connected by its ideology and included in the wider cultural tendency known as Historicism. The examined films follow up on older Czech cultural traditions, both in terms of artistic treatment and of ideological message. In particular their visual conception reproduces the historical paintings of the 19th century, which were well known to general public at the time of the films' production. Pictures analysed in the main part of this thesis view Czech history in a manner, that is - at least in general terms - consistent with historiography of the 19th Century National Rebirth (e.g. František Palacký) and its later popularizers (e.g. Alois Jirásek). However that view of Czech history, dominant since the later stages of the National Rebirth, is presented in the examined films with siginificant changes, most of the time implicit...
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The Women of Czech Film: Mapping the opportunities and working conditions of young female filmmakers in the Czech audiovisual industry
Čtrnáctá, Adéla Jenovéfa ; Czesany Dvořáková, Tereza (advisor) ; Česálková, Lucie (referee)
Keywords Feminism, gender equality, Czech film industry, sexism, sexual harassment in the workplace and in the university environment Abstract This bachelor's thesis deals with mapping the conditions of young women in the Czech film and audiovisual industry (within five years of graduation) and female students of Czech film schools. The work is based on a combination of quantitative and qualitative research, in the form of a questionnaire and subsequent group interviews. This research asks the basic question whether the respondents feel that they are getting into situations where their gender is an obstacle or, on the contrary, an advantage.
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Film amateurs club in Kutná Hora in 1978-1989
John, Viktor ; Czesany Dvořáková, Tereza (advisor) ; Česálková, Lucie (referee)
This bachelor thesis is dedicated to a film amateur club in Kutná Hora, also known as Kutná Hora's Film studio, between the years 1978-1989. The goal of this thesis is to describe the film amateur movement through the perspective of everyday life and to try to understand how a life of a film amateur could look like during normalization years in Czechoslovakia. This thesis answers questions of what was the role of amateurs organized in a club, how they were formed by the club, how they realized themselves apart from the filming itself, how they cooperated together or how they shot so-called societally-ordered films. The primary sources are State Regional Archives in Kutná Hora and interviews with longtime serving head of this club, Bohuslav Kučera. The first two chapters embed this thesis to a wider contextual framework withing amateur film which influenced the Film studio. In the next chapter we describe through archives and oral history method diverse activities and tasks which an amateur in Kutná Hora had to conduct on daily basis. Furthermore, the thesis is concerned with the actual creative practice within the club and with a short description of the development of the club after Velvet revolution and its further disorganization. This thesis shows the everyday life of amateur filmmakers in...
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Trends in advertising film during the coronavirus pandemic
Matějcová, Rebeka ; Česálková, Lucie (advisor) ; Svatoňová, Kateřina (referee)
The bachelor's thesis is devoted to advertising film and its trends that arose during the coronavirus pandemic. We encounter this genre on a daily basis, but it is generally not given much importance, however we are all consumers of it. Whether we encounter advertising indirectly in our surroundings, we see it in various media, such as television, online platforms or we are advertising ourselves as we consume the given content and use the promoted products. For my work, I chose a specific period that greatly influenced audiovisual content, namely the coronavirus pandemic in the period of about 2 years so far. The work focuses on advertisements that were created in response to this situation and the way how the pandemic focused on the advertising industry, shaped and characterized the trends of the given period.
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Krakatit Twice Differently - The Case of the Most Famous Czech Autoremake
Sýkorová, Adéla ; Česálková, Lucie (advisor) ; Klimeš, Ivan (referee)
This bachelor thesis deals with the film The Dark Sun (Temné slunce, Otakar Vávra, 1980) as the second film adaptation of Karel Čapek's novel Krakatit from 1924. From the current point of view, The Dark Sun is perceived as a remake of Vávra's first film Krakatit (Otakar Vávra, 1948). This thesis pursues the question whether the film was perceived as a remake (or as a new version of an older film) even at the time of its official premiere, and how the then Czech criticism felt about this fact. First, on the basis of foreign specialist literature, thesis defines the very concept of remake as it was understood at the time of The Dark Sun's creation. According to this definition, it determines whether any of the then Czech critics viewed The Dark Sun in the same way as foreign experts would view it. It also provides the necessary context for the analysis of criticism in the period of normalization in Czechoslovakia and, above all, the conditions in the Barrandov Film Studio, in which the films of that time were made. On the basis of this context and traceable interviews with the filmmakers, it conducts a survey of the development of the film itself. Its main goal is primarily an exploration of contemporary Czech discourse on the topic of film remakes through Dark Sun and articles from the period press...
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Reflection of history in the work of Mark Ther
Urban, Otto ; Svatoňová, Kateřina (advisor) ; Česálková, Lucie (referee)
Mark Ther is a remarkable figure of Czech art. He dedicates himself to a wide range of artistic expression (films, drawings, installations, etc.). He studied at the Academy of Fine Arts in Prague, where he began making his short films. His work is associated with video art and queer cinema. No monograph has yet been written about Mark Ther. Published texts (catalogue introductions, interviews, etc.) are mainly devoted to his artistic activities. In this work, I focus on his short films, which are thematically clearly anchored in history. He has set his films for more than a decade in the past, to which he responds with the present. Still, the subjects Ther addresses are always very personal to him. He often draws on his own experience, or the history of his loved ones. History and the past are a reservoir for Ther, a treasure trove of human destinies. In my work, I deal with the reflection of history in his historical films. I'm looking for connections and their differences. As important as the historical stages, there are particular historical figures in Ther's films. These are both widely known figures (e.g. Maria Callas, Charles Baudelaire, Klaus Mann, Mitsuko Ajoama and others) and "small histories" of his relatives, or unknown "heroes". Ther's work with history becomes a particular play in...
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The Space Age Skepticism in the Films of Václav Mergl: Laokoon, Crabs and Homunculus.
Liptáková, Veronika ; Svatoňová, Kateřina (advisor) ; Česálková, Lucie (referee)
This bachelor thesis primarily focuses on Václav Mergl's sci-fi films Laokoon, Crabs and Homunculus. With the help of theoretical frameworks of technological skepticism and skepticism of the so-called Space Age it interprets these movies, whereas significantly working with the considerations of Hannah Arendt, presented in her text "The Conquest of Space and the Stature of Man". Since Vaclav Mergl takes his works to the level of relatively complex philosophical ideas, which he often expresses through images, the thesis is also partly devoted to his independent artworks. It then observes the artist's creative processes also in his films. Above all, in the text, humanistic and existential thinking about the position of man in the connection with scientific and technological progress is examined via the thinking of that time. Moreover, the thesis also deals with the ways in which meanings are created in the selected films through the genre of science fiction, taking into account the ideological context as well.
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Karlovy Vary International Film Festival Identity Construction from 1990 to 1994
Kasnarová, Petra ; Česálková, Lucie (advisor) ; Klimeš, Ivan (referee)
The purpose of this dissertation is recognition and description of various aspects which had an effect on the identity formation of the Karlovy Vary International Film Festival within the timeframe from 1990 to 1994. Within the context of socio-political changes of the first half of the 1990s in Czechoslovakia (and later Czech Republic), it explores the organisational and conceptional changes of each festival volume. This case study is based on an interdisciplinary field of Film festival studies, which perceives festivals as places of interconnected discourses and practices. The process of identity formation is herein examined in terms of several possible axes of festival research, based on classification suggested by Skadi Loist and Marijke de Valck. Specifically, the programme (film) axis as well as the economical and institutional axes, which enable to assess curatorial decisions, economical function of the festival and its inner organisational changes in the context of both national film industry and international film festival circuit.
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Performing Pleasure and Suffering: Resident Evil: Village Playthroughs Through the Lens of Psychoanalytic Film Theory
Formánková, Lucie ; Anger, Jiří (advisor) ; Česálková, Lucie (referee)
Klíčová slova (česky): Psychoanalytická filmová teorie, Masochismus, Teorie diváctví, Resident Evil: Village, Videohry, Playthrough Keywords (in English): Psychoanalytic film theory, Spectatorship, Masochism, Resident Evil: Village, Video games, Playthrough Abstract (in English): The idea of the spectator as a set of emotional, perceptual, and identification processes has been linked since the beginnings of psychoanalytic film theory to the disposition of the cinema, where the main driver of mental processes is the moving image on the screen. Thus, classical psychoanalytic theory understands the viewer as a figure hidden in darkness, passively receiving in an individual union with the audiovisual work. But what happens when the emotions evoked by the film are laid bare, the position with which the consumer identifies is thematized by the expressive means of new media and mutually negotiated by the conditions set by the specific audiovisual work? How can we approach such a model in terms of the psychoanalytic theory of spectatorship? What processes occur on the viewer's part as an active participant who makes their film viewing visible, reflects, and performs in the context of contemporary online culture? The phenomenon of so-called playthrough videos works with the motif of placing oneself, one's reactions,...
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