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"Gulliver on the Back of a Whale." Media Image of Pavel Juráček's work in 60s and 70s and after 1989
Kokta, Josef ; Bednařík, Petr (advisor) ; Novotný, David Jan (referee)
The goal of the master thesis deals with the media image of work of a screenwriter and director Pavel Juráček in the Czechoslovak and Czech press in 1960-1970 and after 1989. Juráček was one of the most outstanding filmmakers of so-called Czechoslovak New Wave, whose career was stopped because of The Warsaw Pack Invasion in Czechoslovakia and following restoration of firm rule of a communist party. That's the reason why a first research period is set to 60s and early 70's when Juráček was going through his main artist evolution. The part of the thesis is focused on his films: The Cars without Homes (1959), The Dynamite Watcher (1960), Black-and-White Sylva (1961), Ikarie XB 1 (1963), Joseph Kilian (1963), A Jester's Tale (1964), Nobody Gets the Last Laugh (1965), Every Young Man (1965), The End of August at the Ozone Hotel (1966), Kino-Automat - Man and His house (1967) and Case for the New Hangman (1969). The second shorter part of the thesis is focused on the transformation of the media image of Juráček's work after his death in 1989 mainly because of publishing of his literary heritage, most importantly his diaries.
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The czechoslovakien prohibited films of the 1960's era as a reflection of the political situation of the time.
Nevolová, Zuzana ; Novotný, David Jan (advisor) ; Bednařík, Petr (referee)
The main focus and aim of this bachelors thesis was to determine, whether Czechoslovak prohibited films, which were made during the 1960's era and suppressed during the era of normalization, truly reflect the political situation of the communist regime (not only in their contents, but also in the approach the media of the time took towards the unwanted films) and whether those filmworks could serve as an unwanted commentary of the time. The theoretical part of this thesis therefore determines the context of the politics and media of the time, puts an emphasis on the censorship practice and the evolution of czech film history during the communist era. The analytical section concerns itself with the chosen prohibited films (Den sedmý, osmá noc (The Seventh Day, the Eight Night), Kladivo na čarodějnice (The Witch Hunt), Skřivánci na niti (Larks on a String), Smuteční slavnost (Funeral Ceremonies), Všichni dobří rodáci (All My Compatriots), Ucho (The Ear) and Žert (The Joke)). The cinematography and the contents of these films are analysed, as well as the references to the communist era. The particular way of suppression of the films and the filmmakers is also established. This thesis comes to a conclusion that the chosen forbidden films truly reflect the situation of the time and even some particular...
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"Gulliver on the Back of a Whale." Media Image of Pavel Juráček's work in 60s and 70s and after 1989
Kokta, Josef ; Bednařík, Petr (advisor) ; Novotný, David Jan (referee)
The goal of the master thesis deals with the media image of work of a screenwriter and director Pavel Juráček in the Czechoslovak and Czech press in 1960-1970 and after 1989. Juráček was one of the most outstanding filmmakers of so-called Czechoslovak New Wave, whose career was stopped because of The Warsaw Pack Invasion in Czechoslovakia and following restoration of firm rule of a communist party. That's the reason why a first research period is set to 60s and early 70's when Juráček was going through his main artist evolution. The part of the thesis is focused on his films: The Cars without Homes (1959), The Dynamite Watcher (1960), Black-and-White Sylva (1961), Ikarie XB 1 (1963), Joseph Kilian (1963), A Jester's Tale (1964), Nobody Gets the Last Laugh (1965), Every Young Man (1965), The End of August at the Ozone Hotel (1966), Kino-Automat - Man and His house (1967) and Case for the New Hangman (1969). The second shorter part of the thesis is focused on the transformation of the media image of Juráček's work after his death in 1989 mainly because of publishing of his literary heritage, most importantly his diaries.
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