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Historical roots of the conemporary minimalistic cinema
Böhm, Michal ; HOLÝ, Zdeněk (advisor) ; BOUDA, Marek (referee)
Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century.
Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether.
The aim of this work is to analyze those historical cinema tendencies that bear most resemblance to the modern style of minimalism. I consider these films (and styles) to be the most predetermenative to the style of minimalism: Italian neorealism, spiritual work of Ozu and Bresson, experimental structural movies, the cinematic masterpiece Jean Dielman, 23 Commerce Quay, 1080 Brussels from Chantal Akerman and Antonionis movies with their narative structure.
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Sade and film
Pech, Štěpán ; BOUDA, Marek (advisor) ; Brázda, Mikuláš (referee)
The bachelor thesis titled "Sade and film" deals with some aspects of Sade's work, which are analyzed in the first part of the work, to examine their appearance in the second prat on four different movies - Salo, or the 120 days of Sodom, Howls for Sade, Anatomy of Hell and In the Realm of the Senses.
Basic question of the work is what quality emerges in the contact of two worlds - Sade's work and cinematography.
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Image regimes
Hofman, Jan ; BOUDA, Marek (advisor) ; MAREK, Petr (referee)
This bachelor thesis is dealing with use of surveillance systems in the film Enemy of the State (1998) and how these systems help to create image regimes. The thesis perspective consists of two approaches, first approach is ontological in a sense, that there coexist images with different characteristics (digital/analog) in one platform of the film. The second approach is ideological, because these image regimes create hierarchy and thereby create referentiality/truth and topology in film narration.
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Montage of mise-en-scene
Březina, Jan ; MAREK, Petr (advisor) ; BOUDA, Marek (referee)
The present thesis discusses the specific features in the use of montage within the shot as a stylistic device in film directing. Analysing the work of selected directors and their films, the thesis proposes a system of classification, introducing several key categories based on function.
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Dead time in the works of Nuri Bilge Ceylan
Wiński, Tomasz ; Bouda, Marek (advisor) ; Valak, Radim (referee)
In my thesis I was trying to analize Nuri Bilge Ceylan´s feature
films in chronological order, focusing on the possibilities and
limitations of non-narrative and purely cinematic ways of
expression - like the mis-en scené, editing, framing or creative
sound editing. I wrote about all the five movies of the famous Turkish
director, which were recently awarded with numerous awards in the most
important film festivals: "Kasaba" ( "The Small town" ), "Mayis
sikintisi" ( "Clouds of May" ), "Uzak" ( "Distant" ), "Iklimler" ( "Climates" ) a "Üç maymun" ( "Three Monkeys" ). In my analysis I focused on strictly formal film sequences - but I also tried to take a closer look at the coexistence and influence of the dead time sequences on the elements of dramatic narrative in these movies.
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Term "Organic" in the Film Terminology of S.M. Eisenstein and A. Tarkovsky
Vlčková, Jana ; Bouda, Marek (advisor) ; Bagdasarov, Georgy (referee)
In the first part this text deals with more thorough explanation of concepts such as analogue environment, digitalization or analogue and digital code in the cultural context. For example the difference between analogue and digital abstraction. It also points out the possibility of a pure analog transmission and record, as a counterpart of of selective and examining digitalization.
Via these terms the interpretation of the film starts: Eisenstein's and Tarkovsky's approaches as the example of dichotomy of two ?natural? or ?organic? ?philosophies? in film theory. Eisenstein as a representative of digitization and Tarkovsky as an advocate of an analogue approach.
Thesis leads into utopian micromanifest of the organic film.
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