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TIME LOOP NARRATIVE IN GROUNDHOG DAY, RUN LOLA RUN, AND TIMECRIMES
Ortiz Cordero, Edgar Josue ; DAŇHEL, Jan (advisor) ; Brothánek, Adam (referee)
A time loop narrative is a type of non-linear narrative structure where the story centers on the repetition of either a series of events, i.e., the robbery of a store, a single day, 90 minutes. Characters are often trapped within this machination, doomed to experience a recurrence of events until they find an exit or solution. It is a widely used narrative technique that reminisces of Nietzsche’s “eternal return," the Greek myth of Sisyphus, theWheel of Dharma of Buddhism and the Chinese legend of Wu Gang. This thesis is a study on contemporary time loop films. It discusses the specifics of this type of film and analyzes in-depth a selection of three representative works. Through this analysis, it aims to deconstruct the films into their narrative, and thematic components to find the similarities and differences between them. At the same time, it seeks to give particular attention the elements of film language used in these films.
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Narrative modes of the mind game film from 1990 to 2005
Dvorská, Veronika ; KAJÁNKOVÁ, Lucia (advisor) ; POZZI, Jaroslav (referee)
The thesis examines the context and practical applictations of the narrative modes of the mind game film.
It introduces the reader to broad implications of the modern narration phenomena (where the narrative twists themself are an object of viewer's immersion and suspensions on par with audiovisual attractions).
Later, it uses terms such as perspective, anagnorisis and various types of unreliable narration to further classify and deconstruct the narrative structures of the mind game film as defined by Thomas Elsaesser.
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Have you heard (of) it?
Lapčík, Radim ; KUDLÁČ, Jakub (advisor) ; BAGDASAROV, Georgy (referee)
The goal of this work is to popularize certain sound theory issues (e.g. storytelling, interactivity/immersion, sound/image perspective, semiotics). It deals with the basic sound/image and diegetic/extradiegetic relations, compiling the works of various sound theoreticians. Despite being focused on narrative film, it discusses specific features of four most common semi-narrative genres and gives a hint of sound/image relations in non-narrative and interactive audiovisual media.
Apart from the sound/image/diegesis relations, this work briefly explains the synchresis phenomenon and the meaning of tight or loose sound/image synchronicity for tampering with the perspective and perception of the filmic time and space.
The appendices contain some information concerning related themes – a short combinatorics column, a column explaining the three basic sound planes, the use of sound as a signifier and a longer quotation of Michel Chion’s article on rendered sound.
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Pathos as a Natural Aspect of Film Narration
Soukupová, Irena ; VAJCHR, Marek (advisor) ; MRAVCOVÁ, Marie (referee)
In my work I deal with a phenomenon that has been discussed widely but still remains elusive pathos.
Pathos bears significances for current society that are not always positive. That is why I am going to try to define it, as well as categorize it. I am going to describe the usage and exploitation of pathos in cinema. I am also going to think of pathos criteria or what it determines - is it still pathos or so called sentiment? Unlike sentiment, pathos has its historical background.
Based on particular films and scenes analysis, I will clearly demonstrate how to work with pathos. I will also show how to create pathos itself altogether with pathetically tuned scenes by means of particular devices of film language.
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Double Journey Of The Queen
Bobreková, Anna ; MAŠEK, Vojtěch (advisor) ; MRAVCOVÁ, Marie (referee)
This study focuses on structural analysis of narrative of the double journey film The Queen according to three types of structuring - classical three act structure, sequence approach and the hero's journey. Each of those methods is examining the story with regard to the fact that the film has two protagonists. It is also taking into consideration the possibility of adjusting these model structures to fit this particular story. The study concludes that each of those methods can be beneficial if used in service of the chosen theme.
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Parallel Narrative: Case study
Djikanović, Luka ; JECH, Pavel (advisor) ; DOLENSKÝ, Martin (referee)
The thesis will be based on the book "The 21st Century Screenplay" by Linda Aronson. The first chapter will describe the six different parallel narratives from the book, while the most of the thesis will be based on Tandem Narrative which I will try to explain through the case study of three films: Traffic(Steven Soderbergh, 2000), Crimes and Misdemeanors ( Woody Allen, 1989) and Man is not a bird (Dusan Makavejev, 1965).
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Common features of movies integrating the theater phenomenon into their narrative and stylistic structure
Merková, Hana ; JAŘAB, David (advisor) ; Havas, David (referee)
The subject of this bachelor thesis is the common features of foreign and czech movies integrating theater phenomenon into their narrative and stylistic structure. For better explanation, firstly, the forms, which are not included in the area of interest are described- the audiovisual record of theater performance, film adaptation of dramatic play, or insertion of theater performance into the movie content. In following chapters, three different movie examples working with theater in their structure are being described and analysed. Then, thesis is trying to find the reasoning for the usage of two different mediums and their mutual comunication as a principle of autorship. Finally, thesis is trying to summarize common thematic and formal characteristics of chosen movies.
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Narrative cracks and their compensation
Hoffmann Polenský, Tomáš ; DOLENSKÝ, Martin (advisor) ; ČIHÁK, Martin (referee)
Narrative gaps are dramaturgical problems which disturb the viewers?
perception of the storyline and the fictional world of a film. The text analyses
specific narrative gaps on the example of the most popular Czech films produced
between 2000?2010. This work explores the question of the popularity of these
films despite their narrative problems. In searching for the answer it tries to see
the problem from the perspective of the audience as well as the filmmakers.
From the perspective of cognitive film theories, it describes the auto-compensation
processes applied by the viewers. It also describes the
mechanisms of attraction which are used by filmmakers to cover up the narrative
gaps.
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