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Cyberpropaganda and its Communication Models
Gladiš, Michal ; Marcelli, Miroslav (advisor) ; Mucha, Ivan (referee)
Cyberpropaganda and its Communication Models In this thesis, communication models representing the functioning of communication in a network of social interactions are analyzed. Understanding the communication of new media can contribute to understanding the processes that take place in cyberspace. The aim of this thesis is to decipher the forms of propaganda that operate in it. This work can contribute to the understanding of several forms of current social events, such as public relations, influencing public opinion or political struggle, which have significantly moved into cyberspace. The presentation of cyberspace and new media from several perspectives, together with the complex characterization of the communication that takes place in them, creates its overall image, in which the thesis reveals possible penetrations of propaganda tendencies of targeted manipulation with its members. In this thesis, cyberpropaganda is approached from several points of view. It is about updating propaganda models from the mass media to the emergence of new forms, techniques and tools that have enabled the new media. The starting point of this research is to clarify the complexity of communication, which is not shaped exclusively by its new technical aspects, but is to some extent a continuation of its previous...
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Translation in the Dialogue: The Process of Encoding and Decoding of Film Style in a Remake of the Original Work
Gladiš, Michal ; Svatoňová, Kateřina (advisor) ; Kokeš, Radomír D. (referee)
The following bachelor's thesis concerns the remake, in the context of its use in the history of cinema and in film theory. I discuss the various definitions and possible forms of the remake, which has existed since the inception of film. Each theoretical consideration of the remake brings about a different choice of perspective and method of examination. Thus, the main part of the thesis is comprised of an effort to acquire a new apparatus through which one can think of the remake as a variant interpretation of the original work. In this regard, I transpose approaches from literary theory to film discourse, mainly referencing the theoretical methods of Gérard Genette, Julia Kristeva, Seymour Chatman, Umberto Eco and the concepts of intertextuality and interpretation. The last chapter analyzes two specific films, positioning Takashi Miike's Visitor Q as a remake of Pier Paolo Pasolini's Teorema. The relationship between remake and original develops new readings of both works. A remake is, in fact, based on the filmmaker's unique reading of an original work. This reading marks the transition between the filmmaker's experience as a viewer of the original and their position as creator of the remake.
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