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Kiruna - The Limits of Observation
Stocklassová, Greta ; KRATOCHVÍL, Jaroslav (advisor) ; KLUSÁK, Vít (referee)
Bachelor thesis Kiruna – The Limits of Observation deals stylized observation
method used in documentary film focussing on production of bachelor movie
Kiruna 2.0 directed by Greta Stocklassa. The first part of thesis deals term stylized
observation and the Nichols’ diagram of relationship of fiction and nonfiction. Five
movies (Play, Involuntary, Turist, Fire at Sea, Into the Clouds We Gaze) lying on
the border between fiction and nonfiction are discussed, classified based on their
characteristics and placed in the modified diagram prepared by author.
Second part describes the preparation and production of the bachelor movie
Kiruna 2.0, it describes decisions and choices author had to make and dealt with
during filming. Advantages and limits together with formal ethical aspects of
observation are then discussed based on opinions of other directors and authors’
experiences. Last part is a brief manual for other future directors who will decide
to use observation in their movies.
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Deception of people who appear in documentary films
Abramjan, Andran ; RŮŽIČKOVÁ, Alice (advisor) ; KLUSÁK, Vít (referee)
The thesis aims on how deception of people, who appear in documentaries, helps to reveal knowledge and issues, and how epistemic and dramatic potential of deception is handled by filmmakers. The epistemic aspect is discussed on the case of Milgram Obedience experiment and the dramatic one on the case of television entertainment (Candid Camera, Derren Brown: The Experiments). Four feature-length documentaries (The Advertisement, Czech Dream, The Yes Men Fix the World, The Ambassador) are then analysed, regarding the relation of both of the aspects of deception, as well as the information value of the films, language of film and limits caused by individual approaches. The question of ethics is discussed in the end.
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Workbook for film-maker before debut
Klusák, Vít ; Vachek, Karel (advisor) ; Kokolia, Vladimír (referee)
I subordinated the choise of tasks to the development of my own film-making method. The basic rule for the generation of my text was for mw being driven to go through new experiences and not only writing out what I know or copiling texts from other authors. From practical overlaps I appreciated e.g. the film inventions that I constructed for my work. The "2 in 1" device enables simultaneous projetion of both the person in front of the camera and documentarist behind it.
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