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X-Y-Z FILM
Smrekovský, Adam ; Šplíchal, Pavel (referee) ; Šrámek, Jan (advisor)
The central theme of my diploma thesis is the functioning representatives of the generation Z in the periphery of the global metropolis of the 21st century. I have already dealt with the theme in the bachelor thesis, where together with the fictitious character of Breck Coleman, we "naively" escaped from the city environment to the unspecified countryside. The characters around which the action of the thesis is built is also thinking about leaving the place where they live, but not in the countryside, but to another country and another city… They perceive the move as a necessity, but at the same time realize that they do not solve anything. In the end, they come to the fact that the problem is not resolved by changing the environment-there must be a complete change in the ruling ideology, but it is not impossible in any conventional way… The scene comes with various conspiracy theories and post-truths that should make the way to change the ruling ideology.
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Connection between film and visual art in the 1st half of the 20th century
Jouzová, Tereza ; Arbanová, Linda (advisor) ; Jakubcová Hajdušková, Lucie (referee)
Jouzová, T.: Connection between film and visual art in the 1st half of the 20th century, [Master thesis], Prague 2017-Charles University, Faculty of Education, Department od Art Education, , 150p. (Attachments: art work of pupls and my own work on DVD) Master thesis is focused on connection between visual art and film in the1st half of the 20th century from the perspective of art history and film history and theory of filmu. It deals with significant art and cinematic styles, trends and lines which connects the sphere of film and visual art. I enrich the historical context through etymological point of view on the modern art and I use subjective associations to this etymological contexts. The mutual content, stylistic and artistic bases are substantiated by the examples of visual artists interested in making movies. In the theoretical text are indicated some didactic subtopics related to the subscribed topics out of artistic view. Some of these inserts can be used separately, some of these are connected to the didactical part of the work. There are the projects linking art and film production in a historical context. Knowledge and experience I've gained of the preceding parts of the text are reflected in my own multimedial instalation. KEYWORDS film avantgarde, modern art, expressionism,...
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Emotions in experimental animation
Nováčková, Jana Kristýna ; DĚCKÁ, Eliška (advisor) ; ČIHAŘOVÁ, Libuše (referee)
This work deals with the relation of emotions to contemporary experimental animation. It engages in the emotional experience of a viewer to non-narrative film storytelling and its means of expression.
At the same time, it examines what the creative processes and attitudes of filmmakers towards emotions in experimental animation are. Analysis of the questionnaires also reveals whether the creator counts on the viewer's specific interpretation of the film.
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Artistic films produced by the pharmaceutical company Sandoz
Petříková, Lea ; BENDOVÁ, Helena (advisor) ; Dytrtová, Kateřina (referee)
The aim of this Master’s thesis is to analyse formal and thematic layers of the artistic films produced by the pharmaceutic company Sandoz and to put them in the relation to
the specific history of the company. Sandoz laboratories produced mainly in the 60’s and 70’s several artistic films (e.g. La Femme 100 Têtes which was the adaptation of Max Ernst’s collages or Images du monde visionnaire with the presence of artist Henri Michaux). The thesis explores some of the films and, at the same time, describes the production background and cinematographic context in the relation to the history of Sandoz laboratories.
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Jonas Mekas
Hlaváčková, Hedvika ; POSPISZYL, Tomáš (advisor) ; RŮŽIČKOVÁ, Alice (referee)
The subject of this theses are the films of Lithuanian avant-garde artist, organizator and original interpreter of life, Jonas Mekas. Specifically I'm dealing with the development of his work from the complex film-diaritical sagas to video pieces presented on his web side. I'm exploaring where does he see the diference between the way he captures life and what we call documentary film, what does a reality means to him and how does he get closer to it's essence with the help of his camera. I'm observing how did the recent technical development effected his work - the arrival of video, computers and subsequently internet. I'm trying to understand where does diary-film stand in the frame of history of cinema and where is it's place in the context of the contemporary art scene.
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Experimental film in Buenos Aires since 2001
Moralesová, Alexandra ; POSPISZYL, Tomáš (advisor) ; ČENĚK, David (referee)
Experiment in any art discipline attracts attention and is associated with the beginnings, immaturity, and experiencing the new. If in the 21st century an experimental tendency is emerging in film, a medium and discipline considered to be exhausted and in decline, it is unsettling.
In Argentine film, experiment is first mentioned in connection with the non-conformist art scene of the late 1960s and early 1970s. Filmmakers Narcisa Hirsch and Claudio Caldini are representatives of that decade; they are also witnesses who connect this "first" era with the first and second decade of the 21st century, since they are, once again, among contemporary Argentine artists who turn to film as the medium for experiment.
Whether or not it is possible to talk about a tradition of experimental film in Argentina is not as substantial as (acknowledging) the conditions which accompanied its rise in the two periods mentioned. The 1970s were a period marked by the regime of military dictatorship. The year 2001 represents a turning point in which economic, political and social crisis erupted. In both instances, the circumstances wholly pervaded the life of the society and its art and can be seen as critical. Whether crisis creates the potential for experiment is an open question underlaying reflections on the contemporary possibilities of experimental film and art
in general.
The present work aims to compare the wider social and cultural conditions and creative and production strategies of filmmakers in the 1970s with the conditions and strategies of the filmmakers working after 2001 in Buenos Aires. Furthermore, with regard to the expansion of the audiovisual scene and its transformation into the field of arts of the moving image, it proposes to look at contemporary experimental film in Argentina through the practices of authors from different fields of art such as Claudio Caldini, Pablo Mazzolo and Andrés Denegri.
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Kurt Kren
Procházka, Fraňo ; SILVERIO, Robert (advisor) ; MUSILOVÁ, Helena (referee)
In my bachelor thesis I would like to write about the work of Kurt Kren. I see him as a photographer, who is using movie camera to capture and present his almost still photographs. First I will write about his life and work. Then I will analyze some of his movies.
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The Electrical Enterprises of the City of Prague and Avant-garde Films
Krejčová, Kateřina ; PETŘÍČEK, Miroslav (advisor) ; VOJTĚCHOVSKÝ, Miloš (referee)
This paper, based on archival and period media research, tries to describe the relationship between the Electrical Enterprises of the City of Prague and the Czechoslovak avant-garde in the 1920's and 1930's. The Electrical Enterprises of the City of Prague helped to carry out several exceptional film and intermedia projects through their regular advertising contracts, including the film Praha v záři světel (Prague by Night, 1928), Zdeněk Pešánek's light-kinetic sculpture (1930) or the short experimental film Světlo proniká tmou (Light that Penetrates Darkness, 1931). There are also screenplays in the company archives which have never been realized but demonstrate much about the relationship between advertising and art in the interwar period. The author emphasizes the role of the public's general fascination with electrification, artificial light in the modern city and new forms in the collectively shared public space.
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Sound track
Švarcová, Johana ; BENDOVÁ, Helena (advisor) ; ŠERÝ, Ladislav (referee)
I am interested in the sound track's autonomy within the framework of a film, and in the specific characteristics of a sound track's relation to the missing picture. I am equally interested in sound tracks in movies that are almost devoid of picture: films where the picture retreats and leaves the film space to sound. At present, film is usually understood as an audiovisual medium, with most audiences preferring picture to sound. In other words, in film, the majority views the picture as the foreground and the sound track as the film's background, something that accompanies it. From this perspective, I am interested in what is "hidden" for an average film viewer in the background of the film. In his text The Aesthetics of Failure, Kim Cascone explains the focus on the background in the following words: The basic composition of 'background' is comprised of data we filter out to focus on our immediate surroundings. The data hidden in our perceptual 'blind spot' contains worlds waiting to be explored, if we choose to shift our focus there. A part of my text is an analysis of Walter Ruttmann's film Wochenende, 1930. The text is also partially dedicated to works researching the border of visuality (e.g. Malevich's Black Square).
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