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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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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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The Northern Light and Four Swedish Cameramen : Julius and Henrik Jaenzon, Jörgen Persson and Sven Nykvist
Vaňharová, Adéla ; Přádná, Stanislava (advisor) ; Svatoňová, Kateřina (referee)
This bachelor's thesis uses the example of four Swedish cameramen to examine the role and image of light in Scandinavian film. It is based on the fact that a cameraman is the creator of the film image and the co-author of the film and that light is one of his creative tools. It assumes that the Nordic light is unique and, as such, it affects the appearance of the Scandinavian landscape, the nature of the local people as well as their approach to the light which is also a part of their close relationship to the nature. It explores how this relationship is shown in the Scandinavian, specifically the Swedish and Danish cinematography. It analyzes the narrative function of light, its importance in creating the atmosphere and its effect on the overall formal and substantive nature of the work. The analysis includes works from the era of Swedish silent film addressing, among other aspects, the nature and use of light in black and white films as well as the color films dating to the period from the 50's to the 90's. The thesis analyzes the appearance of natural and artificial light both in interiors and exteriors and its effect on the color concept of the works. In this context it also mentiones the importance of light in Scandinavian culture and art, specifically in painting.
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