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The Plow That Broke the Plains (1936) and the River (1937), A Case of Successful Government Produced Films
Přibylová, Květoslava ; Kozák, Kryštof (advisor) ; Calda, Miloš (referee)
The Plow that Broke the Plains (1936) and The River (1937): A case of successful government produced films, attempts to show on the example of the two New Deal documentaries, that there exist films sponsored by government which contain more than only cheap ideological propaganda. Pare Lorentz's documentaries, despite being produced by the U.S. government, belong among the splendors of worlds non-fiction. They have been an important contribution not only to the whole cinematography, but also to the American culture (in general). Also, due to the fact that these films attracted a wide audience and thus they had a widespread influence on the public. In my survey I am trying to answer the following questions: Why were these particular films so successful? What was the relevance of the government financing in this success? And: What saved these films from becoming meaningless and/or (or on the other side) manipulative exhibitions of state propaganda? I hope that this case study would contribute a little to the discussion about state funding for the cinematography, the problem which is nowadays actual in the Czech Republic.
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The Plow That Broke the Plains (1936) and the River (1937), A Case of Successful Government Produced Films
Přibylová, Květoslava ; Kozák, Kryštof (advisor) ; Calda, Miloš (referee)
The Plow that Broke the Plains (1936) and The River (1937): A case of successful government produced films, attempts to show on the example of the two New Deal documentaries, that there exist films sponsored by government which contain more than only cheap ideological propaganda. Pare Lorentz's documentaries, despite being produced by the U.S. government, belong among the splendors of worlds non-fiction. They have been an important contribution not only to the whole cinematography, but also to the American culture (in general). Also, due to the fact that these films attracted a wide audience and thus they had a widespread influence on the public. In my survey I am trying to answer the following questions: Why were these particular films so successful? What was the relevance of the government financing in this success? And: What saved these films from becoming meaningless and/or (or on the other side) manipulative exhibitions of state propaganda? I hope that this case study would contribute a little to the discussion about state funding for the cinematography, the problem which is nowadays actual in the Czech Republic.
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The Box Full of Light
Přibylová, Květoslava ; RŮŽIČKOVÁ, Alice (advisor) ; ŘEZNÍČEK, Martin (referee)
In my thesis A Box Full of Light, Personality and Thoughts of Niels Bohr as an Inspiration for Science Documentaries, I look, as a documentary film director, at the basic principles and visualizations of the characteristic contemporary popular-science documentaries. I consider this form of documentary film for the most part bleak, often flat and lacking in any kind of progress. I am attempting to unravel where these tendencies come from and show, that they strongly relate to the general notion of science, which stands on the foundations of Newton-Carthesian paradigma. Especially in the area of ideals of measurableness, objectivity and mathematization. At the same time I also contemplate the relationship of knowledge and power, of science as a certain ideology and so also the connection between science documentary and ideological film.
In the second part of this thesis I look for inspiration for artistically more progressive, richer and more multi-layered documentary films about science. I find this inspiration in the thoughts of the Danish physicist and philosopher Niels Bohr.
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"Light-motive" in czech documentary
Přibylová, Květoslava ; RŮŽIČKOVÁ, Alice (advisor) ; ŘEZNÍČEK, Martin (referee)
"From Faithful Star to Light Pollution: Artificial Light Theme in Czech Documentary Film," compares six documentaries made in different epoch and showes how the point of view on the topic of artificial light is changing. Except for showing main changes over time, the essay wants to underline that there are also some symbolic meanings of artificial light which remain permanently regardless of history.
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