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The anticipation and Mulholland Drive by David Lynch
Rynda, Vojtěch ; Hanáková, Petra (advisor) ; Prokopová, Alena (referee)
This thesis deals with David Lynch's Mulholland Drive from the viewpoint of anticipatory processes revolving around it and taking place in its perception. The part covering anticipations on behalf of the author stems from interviews with the director, David Bordwell's theory of narration and works of Constance School of reception aesthetics. These two theoretical frameworks provide basis also for the part covering anticipations on behalf of recipients, which treats critics and spectators separately. This part works with published texts on Mulholland Drive and spectators' opinions reflected in internet forums. After a chapter on anticipations from the distribution viewpoint this thesis analyses to a great detail anticipatory processes involved in the course of Mulholland Drive's perception. It understands the film as consisting from two parts, which it treats separately, and describes anticipations on the levels of scenes, motives, and the film as a whole. The thesis also comes up with a model explaining the popularity of Lynch's work across various spectator groups. Anticipatory processes not only run on the film's various levels but also co-influence its impact. Dealing with Mulholland Drive through anticipation provided for a complex analysis and revealed anticipation as its structural element.
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Common activities for parents and their children
PROKOPOVÁ, Alena
The main topic of this bachelor's thesis are the common activities of children and parents, their mutual interaction and the mode of spending leisure time in a family. The focus of the theoretical part is on the issues of family, leisure time, developmental specifics of the preschool child and the importance of play in childhood. In its practical part, this work deals with qualitative research realized by in-depth semi-structured interview with the parents of children of pre-school age.
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The anticipation and Mulholland Drive by David Lynch
Rynda, Vojtěch ; Prokopová, Alena (referee) ; Hanáková, Petra (advisor)
This thesis deals with David Lynch's Mulholland Drive from the viewpoint of anticipatory processes revolving around it and taking place in its perception. The part covering anticipations on behalf of the author stems from interviews with the director, David Bordwell's theory of narration and works of Constance School of reception aesthetics. These two theoretical frameworks provide basis also for the part covering anticipations on behalf of recipients, which treats critics and spectators separately. This part works with published texts on Mulholland Drive and spectators' opinions reflected in internet forums. After a chapter on anticipations from the distribution viewpoint this thesis analyses to a great detail anticipatory processes involved in the course of Mulholland Drive's perception. It understands the film as consisting from two parts, which it treats separately, and describes anticipations on the levels of scenes, motives, and the film as a whole. The thesis also comes up with a model explaining the popularity of Lynch's work across various spectator groups. Anticipatory processes not only run on the film's various levels but also co-influence its impact. Dealing with Mulholland Drive through anticipation provided for a complex analysis and revealed anticipation as its structural element.
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Underground comics and its treatment in film
Borecká, Kateřina ; Dufek, Jiří (advisor) ; Prokopová, Alena (referee)
In my work, I am concerned with what kind of options are given to film makers by alternative or underground comics in terms of their adaptation. My original goal is not only comparing film adaptation and the original movie, but also comparison of the different approaches by each author. In the first part of my work, I am trying to assort and clarify definitions which describe the alternative comic work and also explain what the alternative comic work actually means. Because I am dealing with the alternative comics which is not very well known in the Czech republic, I attempted a partial summary of its development. I am also trying to outline the theme and style of such pieces at the same time. That is, in my opinion, the only way how to zoom on the possibilities or sources of inspiration that these pieces may or may not offer to film makers. In the second part, I am trying to compare two films which are actually the only two available adaptations of the alternative comics. It is more of a comparison of the overall film concept and comparison of the structure than analysing the films theirselves.
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