|
|
The Coming Out Process of Queer Male Teenagers in Contemporary European Cinema
Hosenseidl, Radek ; BENDOVÁ, Helena (advisor) ; VAJCHR, Marek (referee)
This thesis discusses the similarities in coming-out depictions in
contemporary European cinema focusing on teenage and coming-of-age queer
male characters. While based on understanding the coming out as a sociological
phenomenon with strereotypical development, it allows for deviations both in
reality and in film. The thesis further aims to identify common elements in films
with coming-out narratives: repetitive narrative techniques, themes, characters
and motives. Using the analyses of three films, the thesis also examines the
importance of coming-out stories in broader film narrative.
|
|
|
Contemporary European Animated Features for Adults
Dohnalová, Kamila ; RYCHECKÝ, Tomáš (advisor) ; DĚCKÁ, Eliška (referee)
The master's thesis on Contemporary European Animated Features for Adults
describes and analyses feature animated films for adult audience that were produced in Europe between 2009 and 2015. The animated feature film historical context as well as the aspect of adults as the target group are mentioned. The thesis’ assumption is that ten years ago Persepolis and Vals Im Bashir has settled a new direction of European animation. Within the determined and described criteria the common features of analysed films are introduced, including the most common stories, genres, animation techniques, ways of financing and distribution channels. The general frame of European animation as a whole is described. The contemporary trends and tendencies are defined based on the analysis of finished films as well as those in development.
|
|
|
THE FUTURE OF EUROPEAN PRODUCERS FOCUSED ON FILM OF ARTISTIC VALUE
Novotný, Mikuláš ; OUKROPEC, Petr (advisor) ; STRNAD, Pavel (referee)
In its first part, this master thesis focuses on dividing potential approaches towards producing films, according to pre-defined goals of the producers (income/fame/artistic value). It explores the term art-house cinema and alerts on the impact of international education programs and film subsidies, which (applied altogether) may only lead to an average result - average film. A short historical context of selected French and Spanish producers is being afterwards accompanied by two large interviews with present successful producers, Cedomir Kolar and Luis Minarro. These two interviews shall refer to various approaches to producing, within the actual system. In its ending, the thesis calls for bravery of the upcoming generation to search for alternative model of producing and distributing films of artistic value.
|
|
|
Stejný příběh vyprávěný odlišně
Viitman, Milena ; ANGIOLILLO, Mary Carmel (advisor) ; BERGAN, Ronald (referee)
K tomu, abych ilustrovala jak se stejný příběh výrazně mění v závislosti na zemi původu, použiji příkladu Abre Los Ojos (Otevři oči, Španělsko, 1997) a jeho remake-u Vanilla Sky (Vanilkové nebe, USA, 2001). Cílem mé práce není dokazování které zpracování je lepší, ale spíše poukazování na skutečnost, že rozdíly jsou důsledkem rozdílné ideologické a kinematografické tradice. Nejprve budu psát o typech nových filmových zpracování, a o tom proč Hollywood předělává evropské filmy. Pak začnu porovnávat hlavní postavy obou filmů a ukáži jak odrážejí sociálně-behaviorální normy dle země původu. Poté budu pokračovat s dalšími kulturními rozdíly, které jsou patrné v jazyce, kinematografii, střihu, hudbě, herectví a režii. Hlavní sociologický, tím pádem i kinematografický rozdíl, který je přítomný ve všech aspektech a sekcích těchto filmů je ten, že zatímco Abre los Ojos se zabývá vnitřním zápasem protagonistů, Vanilla Sky je milostný film. Tento rozdíl v tématu odhaluje mnoho o preferencích v Evropě a v Americe.
|
|
|
Film and historiography
Poláček, Vít ; Dodova, Borjana (advisor) ; MRAVCOVÁ, Marie (referee)
Michael Haneke´s The White Ribbon, Bertrand Bonello´s L´Apollonide, The Girl with a Pearl earring by Peter Webber or The Silence of Joan by Philippe Ramos are European arthouse films, which could be seen as films based on history or historical events. In compare with mainstream films all these authors draws inspiration from changes in historiography in last fifty years to make their fictional worlds more credible. Except of concrete descriptions of their methods the thesis includes also the reflection of the audience perception of films based on historical events or the willingness of the audience to believe the presented image of history.
|
|
|
ANALOGIES BETWEEN INDIAN AND EUROPEAN AUTHOR´S CINEMA OF THE PERIOD 1960 - 1980
Rampal Dzurenko, Viktória ; BERNARD, Jan (advisor) ; ŠPAČEK, Radim (referee)
Indian Parallel Cinema is the mixture of Contemporary, Experimental and Art Cinema of India and always consist of low budget. Indian Cinema had started with its first silent film "Raja Harishchandra" in 1912. Indian cinema is often defined as Bollywood or Masala Films of India, since it is also the popular form with its ritual of song, dances and over-the-top melodrama. However, the 60s and early 70s were time of experimentation in the format of storytelling and form in Indian Cinema. Indian Parallel Cinema is a specific genre of Indian cinema which is known for its serious content, realism and naturalism, which reflected social and politics topics during those times. Indian parallel cinema represents a change of direction or a break with the traditional Indian cinema.
|
|
|
Czech Producer and the Aspects of International Co-Production
Konečný, Lubomír ; KOPECKÝ, Čestmír (advisor) ; ULDRICHOVÁ, Helena (referee)
This master thesis is focusing on European film industry and on the position of Czech producer in this system. In the beginning is cinematography listed into the system of creative industries and there is a definition of what the producer is. Furthermore are presented the possibilities of financing of audiovisual work in local conditions, which is the necessity for potential co-productions. Significant part of the thesis is dedicated to the analysis of structure of European audiovisual funds, which are Eurimages and MEDIA Desk and producer?s networking. In the case study is described the history of growth of Danish company Zentropa which is one of the most successful European companies based on possibilities which offers European film market. In the end of thesis is in short view described the change of industry connected with entering of digital media and social networks to audiovisual industry.
|
|
|
Historic Film in Contemporary European Cinematography from the Viewpoint of the Producer
Kalandrová, Pavlína ; PRAŽSKÝ, Přemysl (advisor) ; BOBIŇSKI, Filip (referee)
Historic film genre serves here as a model example of a demanding film project in contemporary European cinematography. We want to explore the problems of development and financing of historic films. The basis of the research is the idea that historic films are mostly producer projects because of their commercial potential.
The genre of historic film is explained here from two different points of view: Film theory and film history. The concept of European cinematographic work and the ways of financing European co-production films are shortly presented. Further we describe what a producer follows and influences during his work on a historic film. The gained knowledge is then applied on five case studies. Reflections of the film producers form a part of these studies.
The result of the research is the statement that the quality and artistic value of a film go across the film genres just as the producer's or the director's approach to a film project do. To shoot arthouse oriented historic films is more risky from the commercial point of view. At the same time only in this way the film will be unique, can survive for decades and can really be successful all over the world.
|
guest ::
