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Film Industry and the Federalization of Czechoslovakia
Fořt, Ferdinand ; Klimeš, Ivan (advisor) ; Czesany Dvořáková, Tereza (referee)
The main aim of this bachelor's thesis is to explore and describe changes in Czechoslovak film industry resulting from federalization of Czechoslovakia, which was implemented by Constitutional Act no. 143/1968 Col. On Czechoslovak Federation, effective from 1st January 1969. In its first part the thesis deals with general political atmosphere of fault year 1968 and with particular steps, which had led to the federalization. The second and the most essential section explores the process of separation of film industry on federal principles. The author takes into account legal acts, which implemented this separation and economical side of the separation as well as proposed measures, which were not put into practice and also partial matters connected with federalization such as level of integration of film distribution and foreign affairs. The third part focuses on federal division of Union of Czechoslovak Film and Television Artists, which was however shortly after cancelled by the new political power that had risen after occupation in August 1968. The last section presents brief excursion into the situation and organization changes (not only) in cinematography at the outset of so-called normalization.
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Josef Střecha, director of photography (3.11.1907, 29.3.1985)
Novotná, Magdaléna ; Klimeš, Ivan (advisor) ; Přádná, Stanislava (referee)
This submitted bachelor thesis deals with the life, work and activities of the director of photography Josef Střecha. He was the author with a broad remarkable creative range, however, the film historiography have not researched his work up to now. Josef Střecha was creating in the years 1929 - 1971. In his career he made more than 60 feature films. During the World War II he also worked in Germany for the companies Bavariafilm and UFA under the pseudonym Strecher. The aim of my bachelor thesis is to introduce this active director of photography and his work and to follow the wider evolution of the artistic-technical profession of a director of photography. The important part of the thesis is the heritage arrangement of Josef Střecha and the creation of his personal fund, which can be seen in the attachment.
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Cultural melting in Czechoslovakia in the late fifties and early sixties in the view of young generation: the sixties are ours!
Černý, Lukáš ; Beneš, Zdeněk (advisor) ; Šmíd, Marek (referee)
This diploma thesis deals with the beginnings of the release of culture in the period of political- cultural melting in Czechoslovakia in the late 1950s and early 1960s. Cultural loosening has been evident since the second half of the 1950s and will be demonstrated on the example of Czechoslovak film, in which the dynamics of changes in Czechoslovak culture were very obvious. The main focus of my thesis will be the depiction of the young generation and the way their image is transformed and developed on screen, and I will not forget to mention the social critique and satire in the film, which also plays an irreplaceable role in the process of cultural melting. The aim of the thesis is to show that the power of the young generation has become a driver of cultural change and youth itself became a symbol of cultural melting, which I will demonstrate on selected film examples, which will reach the 1960s. The sixties became a symbol of the rebellion of the young generation and its heyday in the arms of Czechoslovak culture. Keywords The cultural melting, fifties, sixties, the young generation, czechoslovak film, view of youngs, Czechoslovakia
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The victim or the threat: representations of madness in the Czech Film and Television thriller from 60th to 80th years
Raisová, Angelika ; Jirák, Jan (advisor) ; Štoll, Martin (referee)
The subject of this thesis is the way of representation of mentally ill characters in the Czech detective movies made between 60s and 80s. The characters with elements of mental illness or other abnormalities are analyzed in the semiotic analysis. Subsequently, the results are complemented by narrative analysis which focuses on the role of selected characters in the story, style, storyline and the overall impression of mentally ill characters. The aim of this thesis is to gain a wider awareness of madness representation and also to provide more comprehensive information about the characteristics of analyzed characters. The first part of the thesis focuses on a theoretical background essential for subsequent analysis - media representation, construction of reality, stereotypes, new wave cinema, normalization, history of madness. The second part of the thesis is dedicated to analysis of 10 movies and interpretation of the results.
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Czechoslovak-Cuban Cinematic Cooperation in the 1960s
Matušková, Magdaléna ; Opatrný, Josef (advisor) ; Štěpánek, Pavel (referee) ; Skřivan, Aleš (referee)
The study analyzes the largely understudied cinematic cooperation between Czechoslovakia and Cuba in the first decade following the Cuban Revolution. It is based mostly on archival documents from the former Central Directorship of Czechoslovak State Film, the ministry of education and culture and the ministry of foreign affairs. Several chapters also draw from oral history, data collected from series of interviews with Cuban technicians and artists who have worked in Cuban cinema since the 1960s as well as Czechoslovak experts who worked at the Cuban Institute of Cinematographic Arts and Industries in the 1960s. The Cuban Institute of Cinematographic Art and Industry (CICAI), founded in March 1959 shortly after the triumph of the Revolution, faced a shortage of human and material resources since its inception. The film industry, which had been mostly in the hands of the Americans before 1959, lost much personnel due to mass emigration. Later on, due to the American blockade and embargo, it also lost its most important provider of films, material and equipment. The majority of CICAI's technician and artists were just starting and were lacking in technical knowledge required to make films. Czechoslovak State Film (CSF) offered extensive help to Cuban cinema, especially in the area of developing the...
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Josef Střecha, director of photography (3.11.1907, 29.3.1985)
Novotná, Magdaléna ; Klimeš, Ivan (advisor) ; Přádná, Stanislava (referee)
This submitted bachelor thesis deals with the life, work and activities of the director of photography Josef Střecha. He was the author with a broad remarkable creative range, however, the film historiography have not researched his work up to now. Josef Střecha was creating in the years 1929 - 1971. In his career he made more than 60 feature films. During the World War II he also worked in Germany for the companies Bavariafilm and UFA under the pseudonym Strecher. The aim of my bachelor thesis is to introduce this active director of photography and his work and to follow the wider evolution of the artistic-technical profession of a director of photography. The important part of the thesis is the heritage arrangement of Josef Střecha and the creation of his personal fund, which can be seen in the attachment.
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Film Industry and the Federalization of Czechoslovakia
Fořt, Ferdinand ; Klimeš, Ivan (advisor) ; Czesany Dvořáková, Tereza (referee)
The main aim of this bachelor's thesis is to explore and describe changes in Czechoslovak film industry resulting from federalization of Czechoslovakia, which was implemented by Constitutional Act no. 143/1968 Col. On Czechoslovak Federation, effective from 1st January 1969. In its first part the thesis deals with general political atmosphere of fault year 1968 and with particular steps, which had led to the federalization. The second and the most essential section explores the process of separation of film industry on federal principles. The author takes into account legal acts, which implemented this separation and economical side of the separation as well as proposed measures, which were not put into practice and also partial matters connected with federalization such as level of integration of film distribution and foreign affairs. The third part focuses on federal division of Union of Czechoslovak Film and Television Artists, which was however shortly after cancelled by the new political power that had risen after occupation in August 1968. The last section presents brief excursion into the situation and organization changes (not only) in cinematography at the outset of so-called normalization.
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Reception of Slovak Czech film in the Press in the period 1948 - 1969 (with special attention to the image of the Germans)
Racik, Marek ; Klimeš, Ivan (advisor) ; Přádná, Stanislava (referee)
My thesis focuses on the reception of Slovak fiction film in the Czech press from 1948, the year when Slovakia started to produce their own fiction films regularly, until 1969, when the social changes after the occupation of Czechoslovakia by the Warsaw Pact troops ended the whole period. There was a notion in the Czech society that Czechoslovak film is a Czech film and the thesis focuses on this notion as it was understood by the Czech film critics. My goal is to find and explain, when and how the Czech film journalism started to recognize the differences inside the Czechoslovak film and pointed out the unique identity of the Slovak film in the Czech press. Furthermore, I examine how the Slovak film was rated by Czech film critics in the Czech film scholar press, film magazines and newspapers. The first part of the thesis examines the Czech-Slovak relations in the light of newly established Slovak fiction film. The second part focuses on the complex approach of the Czech film critical journals towards Slovak film, influenced by the state power between the years 1948 - 1960. The third part reflects the appearance of the topics concerning SNP and the so called Slovak New Wave, which lasted during two separate periods between the years 1960 - 1969. Powered by TCPDF (www.tcpdf.org)
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