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Browsing FAMU International by Subject "analýzy filmových děl"

Now showing 1 - 20 of 25
  • Blue Kitano
    Montaldo, Grégory
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2021)
    Date of thesis defence: 2021-09-27
    This thesis proposes to explore the ways in which Takeshi Kitano, a Japanese director and actor revealed in the 1990s with a golden lion for "Hanabi" in 1998, employs the motif of the sea as a poetic space in his cinema. The collapse of the Japanese studio system has led to the emergence of new kinds of authors, individuals with different, unconventional training, such as Kitano Takeshi. Born in an impoverished district of Tokyo, Kitano was the son of a house painter and a housewife. Successively, Kitano became a liftboy, a stand-up comedian, an actor, a man of television, and then moved on to directing in 1989 with Violent Cop. Although his films develop personal themes, aesthetics and a sense of editing, the author nevertheless inscribes himself in the continuity of Japanese cinema. The sea, as a foundational element of Japanese culture - Japanese mythologies make the sea the birthplace of its humankind - asserts itself as both the theater and the acting subject of his stories. By exploring the relationships he weaves between his cinema and extra-film elements (biographical elements, cultural paratexts), this thesis intends to demonstrate that the sea, far from being a simple decor for the plot, participates in a poetics of space specific to its author. By blending burlesque and drama, under the influence of the sea and the powers of his daydreams, Kitano exposes the vanity, inadaptibility and loneliness of a man cut off from his origins, from his childhood. Obsessive element of his plots, this relentless escape from the city to the sea gives the Kitanian hero an Sisyphean air. By blurring the boundaries between burlesque and drama, filmic and extra-filmic elements, Kitano interweaves this quest for origins with a return to childhood. This thesis intends to demonstrate that by acting in this way, Kitano weaves a continuous mesh that binds the subject to his environment, the artist to his land, the man in the sea. The importance of the milieu, of geography participates in the poetics of the artist and contributes to his formation.
  • Circus elements as transcendental tools in film
    Popov, Dimitar
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2014)
    Date of thesis defence: 2014-06-06
    From the very beginning, film announced its duality: the style of the documentary works of the film pioneers - the Lumi?re brothers, stood in
  • Constructing a Heroine
    Sahiti, Noar
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2020)
    Date of thesis defence: 2020-09-18
    This thesis examines the conception of a heroine in fiction screenwriting by analyzing the work of Danish filmmaker Lars von Trier. It mainly focuses on the inscribed qualities and characteristics of his female protagonists, and interprets their instrumentality and influence over their narratives, outlining each character's social, emotional, and intellectual entanglements and utilizing their predicaments to assess their agency and empowerment within Lars von Trier's universe. It also addresses the peculiarities of what constitutes a von Trier heroine, referencing Freytag's technique of the drama, and offers a comparative approach between the heroines themselves. The thesis also concentrates on what each of these characters have to say about the state of society, and their resolve in confronting the hardships imposed upon them.
  • Contemporary Chinese Art -house Cinema and Genre Wenyi
    Xie, Piaoyu
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Date of thesis defence: 2018-09-20
    After the opening-up and the economic reform, China has become one of the largest film markets for various genres. As a result, interests towards art-house (Wenyi) cinema have also been greatly increased, especially for those which have been made based on low budgets. This research attempts to first of all examine the formation of the low budget art-house cinema in China, then trace its development from 2015 to 2017 based on five films which are considered as low budge art-house cinema to further provide an overview of the current situation of Chinese low budget art-house cinema from both aesthetic and production perspectives.
  • Desire in Duras
    Šustić, Dora
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Date of thesis defence: 2019-09-20
    The thesis will research the ways Marguerite Duras, one of the most controversial and fruitful female writers and filmmakers of the twentieth century, employs certain elements of film language in order to expose complex inner landscape of her female characters, thus creating distinctive poetics that evokes her écriture féminine. Deriving from nouveau roman, a movement in French literature that questioned traditional modes of literary realism, Duras approached film medium in her own courageous way, deconstructing plot, fragmenting time through total separation of audio and image, using silence, repetition and absence as particular poetical elements. Comparing films Duras wrote and directed herself to the adaptations of her work done by male directors, the thesis will demonstrate how experimentation in film language was crucial in order to portray the elusiveness of female desire that was such a principal preoccupation of Marguerite Duras. Equivalent to Lacan’s definition of desire and poststructuralist feminism, where desire is perceived as a state of eternal unfulfillment inevitably marked by melancholy, Duras’s oeuvre is marked by contrasting principles of thematic continuity and formal discontinuity, with the emphasis on sensuality of image rather than its interpretive attainability, thus treating desire from inwards, as inscribed in text and image, in oppose to mere descriptions. Heavily under the influence of her earliest love affair, Duras moulded her autobiography into the tissue of her work, blurring the line between fiction and reality, presence and memory, love and longing. Capturing the ineffable on screen by extending the boundaries of cinema as visual medium, Duras exposed female desire in its rawest form, purely feminine, liberated from phallocentric gaze. This thesis will argue that by doing so, Duras empowered women as writers, authors, subjects, and created space for a sincere dialogue about love and sex.
  • Duality as a creative principle in the films of A. Żuławski
    Lenak, Miliana
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Date of thesis defence: 2016-10-07
    The cinema of the controversial Polish director Andrzej Żuławski changed and morphed in synchronicity with his personal transformations over the years; however, the use of duality remained a consistent principle in his artistic approach, which also contributed to the polarized reactions that his films usually provoked from their audience. The founder of psychoanalysis, Sigmund Freud, also examined opposites and identified two basic instincts underlying every human action: the life instinct and the death instinct. I find a correlation between Freud’s theory of opposing instincts and the core themes in Żuławski films, which I identify as the theme of Love and the theme of Death. In my thesis I will endeavor to approach an analysis of two of Żuławski’s films through the prism of dualism contained in the pair of his most exploited themes. Although the thematic duo of Love and Death prevails in most of Żuławski’s films, I have deliberately chosen The Third Part of the Night and Possession as the basis of my analysis, since I find it fascinating how the duality concept is evident not only in the content of each film separately but also in the way these two films correlate.
  • Expressionism in 21st Century Film
    Ziyalar, Emir
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2020)
    Date of thesis defence: 2020-09-18
    Expressionism in cinema emerged in Germany in early 1920’s and it became the dominant movement in 1920’s and 1930’s. Many masterpieces were created in that era, which were very unique and innovative in various aspects. The movement lost its power and presence in the following decades due to the circumstances in Germany. Even so, the influence of expressionism continued to exist until today and embodied itself in many contemporary films. This dissertation aims to prove that there is an undeniable connection between early German expressionist cinema and some of 21st century films and this way, it aims to prove that expressionism is still an on-going approach towards the craft of filmmaking. It aims to achieve this through a methodical analysis of the unique characteristics of expressionist filmmaking that is shared by both classical and contemporary examples of expressionist cinema.
  • Fictional Truth: Use of Documentary Style to Create Truthfulness in Fiction films
    Gudrúnardóttir, Elísabet Elma
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2021)
    Date of thesis defence: 2021-06-15
    This thesis examines the influence of documentary style on the truthfulness of two fiction films of the late 90s – The Celebration (1998) of Danish director Thomas Vinterberg and Rosetta (1999) or Belgian brothers Jean-Pierre and Luc Dardenne. These two films can be explored through their amount of realism in various form, whether realism is their specified goal or not. To shed light on the realistic tendencies of these films they will be analysed trough story content, acting, directing, cinematography, mise-en-scène, location choices, budget size, sound and editing. In addition, it is important to look at the chief points of the technological developments in documentary films and important earlier cinema movements to which these films share a resemblance. The Celebration was the first result of a movement, Dogma95, announced 3 years prior to the film’s release. Rosetta is a product of ‘Dardennian’ style developed from the directors’ move from documentary to fiction. Both films will be analysed through their dedication to their respective movements, Dogma and ‘Dardennian’ style, and both the films and the movements in accordance with documentary tradition.
  • Heroes of New Russia
    Shidlovskiy, Kirill
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Date of thesis defence: 2018-06-08
    The master thesis “Heroes of New Russia: Analysis of Character Archetypes in the Works of Alexei Balanov” introduces the life and work of one of the most remarkable directors of a new Russian cinema, Alexei Balabanov. Through the use of qualitative content analysis it discusses all his feature films, both finished and unfinished, and focuses on the hero archetypes that the director/screenwriter Balabanov kept using. Furthermore, it describes changing of these archetypes over time as the society of the new Russian Federation kept on changing after the fall of the Soviet Union and as Balabanov perceived that change, both in his life and in his works. Finally, the thesis puts all the ascertained findings into a broader context, based on national, historical and cultural aspects to provide an objective framework for the subjective approach of the famous director.
  • Hibakusha cinema as means of rediscovering identity
    Malinowska, Karolina Joanna
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Date of thesis defence: 2019-09-20
    The thesis explores the topic of Hibakusha cinema which developed after the atomic bombing of Hiroshima and Nagasaki during WW II. The study focuses on rediscovering identity by Japanese society after the nuclear explosions. The aim of the analysis of hibakusha films directed by the generation of filmmakers who survived the war will aim to present how Japanese rediscovered and redefined their identity as a nation after the bombings. Filmmakers were chosen on the basis of their first-hand experience and insight into the Japanese condition before and then after the war. Thesis refers to Junichiro Tanizaki’s essay on Japanese aesthetics In Praise of Shadows. His examination of the society sheds new and interesting light on the Japanese outlook on the world and art. This thesis focuses also on the work of Akira Lippit Atomic Light (Shadow Optics). The publication provides the analysis of the atomic light as a new concept for interpreting the meaning of light, especially the cinematic light. Apart from a general overview of the Japanese history and culture thesis focuses on in-depth analysis of the content and form of movies of Akiro Kurosawa, Kaneto Shindo, Shinsei Adachi, and Hiroshi Teshigahara.
  • Lynne Ramsay: Character´s multi-sensorial experience
    Sefa, Norikë
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Date of thesis defence: 2019-09-20
    This thesis is motivated by my strong conviction that the films written and directed by Lynne Ramsay are worthy of serious engagement and critical scrutiny. The Scottish filmmaker is one of the rare artists who was able to bend the cinema to the shape of her own extraordinary vision, which establishes her among the most original voices working in independent cinema today. This dissertation is also motivated by my curiosity about the seemingly inexhaustible pleasure and edification I derive from her films. It analyzes the consistency,meaning, persistence of style and theme in the corpus of her work. Ramsay’s filmmaking was always described as “cine de autor” (auteur cinema). Indeed, her films are an evidence of a personal involvement in every aspect of filmmaking. This thesis will define and explore the characteristics and conditions of her authorship which constitute an expression of the enduring usefulness of auteurist criticism. In this case, this critical approach tends to yield the deepest insights into her films, identifying the unique qualities of Ramsay’s film grammar, such as the narrative, aural, visual components, while stimulating quests for the importance of the auteur. Since, my research into the literature on the films of Lynne Ramsay failed to find any serious evaluations, my analysis benefits from references taken by different theories included in the thesis and by the audiovisual materiál provided by the films. Primarily, it is an approach to criticism I learned from my mentors at FAMU( Film and TV School of Academy of Performing Arts in Prague), while my direct experience as film-maker will add an operative critical approach to elaborating the stylistic trademarks and identify director’s artistic and dramatic decisions. Each film will be subjected to a close reading illustrated with images from it. These readings aim to structure Ramsay’s method of creation while thinking with the films rather than thinking against or about them
  • Making a film based on "antihero"
    Zaytseva, Anna
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2014)
    Date of thesis defence: 2014-06-06
    Metody a postupy, které umožní divákovi soucítit a identifikovat se se záporným protagonistou.
  • Miss Representation
    Satish Dulipati, Apoorva
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Date of thesis defence: 2019-09-20
    This study mainly focuses on examining the metamorphoses of female character archetypes in popular fiction films and analyse the crucial impact of such transformations of film characters in gender roles. The study aims to identify and examine female characters appearing in classical feminist texts, theoretical and critical articles, psychoanalytical works in drama therapy and film science. This archetypal research has based itself on the information provided by the sources mentioned above. Furthermore, the study also explores the stereotypical portrayal of female sexuality and the conventional patterns present in the text, communicated to audiences in the context of gender roles.
  • "Pathos" as an ultimate inspiration in the macedonian cinema
    Banov, Dimitar
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Date of thesis defence: 2015-06-05
    This thesis aims to elaborate and prove the inevitable existence of the feature of Pathos in Macedonian Cinema, serving as an ultimate and underlying characteristic in film narratives and language. The work will attempt to illustrate and justify the presence of Pathos in over 90 percent of Macedonian Feature Film production as a consequence of the country?s war-political history, and the rooted subordinate mental matrix of the Balkan people, perceiving themselves as oppressed victims of ?other? nations. In order to achieve this, the thesis will take a closer look at the modern history of Macedonia from the beginnings of motion picture existence until today. In addition, the work will analyze 10 feature films from different decades in the Nation?s Cinema with a view toward the use of Pathos and its necessity.
  • Same story told differently how the socio-cultural factors influenced the creation of Abre los Ojos and Vanilla Sky
    Viitman, Milena
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Date of thesis defence: 2015-06-05
    In order to illustrate how the same story significantly changes depending on its country of origin, I will use the example of Abre Los Ojos (Spain, 1997) and its remake Vanilla Sky (USA, 2001). The intention of my thesis will not be to prove which version is better, but rather to show how all differences are results of a different ideological and cinematographic tradition. First, I will talk about kinds of remakes and why Hollywood remakes European films. Then, I will compare the main characters in both films, and show how they reflect socio-behavioral norms, based on their country of origin. Then, I will continue with other cultural differences expressed in the language, cinematography, editing, music, acting and directing. The main sociological, therefore cinematographic difference, which prevails in all aspects and sections of the two films, is that Abre los Ojos deals with the protagonist?s inner struggles, while Vanilla Sky is a love driven film. This thematic difference reveals a lot about the audience?s preferences in Europe and America.
  • Screenwriting in the era of binge-watching
    Fernandes Bahia Baer, Carlos
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Date of thesis defence: 2018-06-08
    The prevalence of video on demand has given rise to a new form of content consumption: binge-watching. This thesis explores how that shift has started to influence the screenwriting of shows that are conceived to be binge-watched.
  • Shaping a Nation
    Lin, Lung Yin
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Date of thesis defence: 2018-09-20
    In the hands of state-owned studios, indie amateurs, underground productions, and emerging revolutionists, generations of Taiwanese filmmakers envisioned their image of the ‘nation’ in cinematic forms.
  • Techniques of Beginning in Selected Films of Andrey Zvyagintsev: Elena, Loveless, The Return
    Ben Eliyahu, Eilat
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2020)
    Date of thesis defence: 2020-09-18
    This thesis examines the techniques of beginning in three films by Andrey Zvyagintsev—The Return (2003), Elena (2011), and Loveless (2017). Typical to art-house films, the beginning in Zvyagintsev‘s films is usually dialogue-concise; it relies mostly on visual storytelling, prioritizing atmosphere over action. Yet, it manages to engage the viewer very effectively. This work intends to define what makes those beginnings so effective and powerful by analyzing film-narration and film-style devices in them. The term beginning is used in this work to indicate the whole first part of the film. The role of the beginning within the overall narration is examined and defined based on the ―viewer‘s activity‖ theory in Neoformalism. The process of hypothesis testing, central to analyzing the narration of the beginning, is the focus of the film analyses in this thesis.
  • The Affected Flesh
    Mendoza, Valerio
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2013)
    Date of thesis defence: 2013-10-11
    Během první dekády 21. století, dosáhla rumunská kinematografie elitního statusu takzvané rumunské nové vlny nebo nové rumunské kinematografie. Tato magisterská práce usiluje o poodhalení části z toho, co jde za rámec obvyklé estetiky a dramatických měřítek, která filmovému hnutí přinesla ocenění a prestiž. Prostřednictvím třech charakteristických filmů, bude analyzována reprezentace lidského těla, síla a efektivita vypravěčského řemesla, jež zdatně ztvárňuje příslušný socio-politický diskurz té doby a harmonicky se snoubí s čistým vizuálním stylem. Rumunská kinematografie pracuje s tématy jako identita a konstrukce moci - tato magisterská práce se snaží odkrýt, jak jsou tyto koncepty vyjádřeny prostřednictvím konkrétního zobrazení tělesnosti a jejího vlivu na hlavní postavy, zdůrazňující způsob užití režisérské dovednosti v souladu s popsaným zastoupeným příkladem.
  • The Diversity of the Femme Fatale Character in Film
    Naumovska, Frosina
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Date of thesis defence: 2015-06-05
    This thesis will examine the diversity of the film archetype knows as the ?femme fatale? from her emergence in early noir film to her development in contemporary cinema. By tracing her appearance across a timeframe of eight decades, I will expose the diversity of her physical manifestations as well as diverse methods that she used in continual war against manhood. I will do so, by analyzing one prototype of the femme fatale followed by six other female characters, all of whom have been critically referenced as a ?femme fatale? or ?devil?s woman? within different film genres. These characters are LOLA-LOLA from the 1930 early German noir film Blue Angel as the prototypical femme fatale; BABY DOLL from the 1956 American black comedy of the same name; VARLA from the 1965 American exploitation film Faster, Pussycat! Kill! Kill!; ANNIE WILKES from the 1990?s American thriller/horror Misery; LOLITA from the 1997 French-American melodrama of the same name; VERA from the 2007 Russian drama Banishment and LISBETH SALANDER from the 2011 American mystery film The Girl with the Dragon Tattoo. The term ?femme fatale? will be examined for its origins and the development of this type of character will be examined from its early appearance to its manifestation in contemporary film. Attention will be paid to how the manifestation of the femme fatale reflects the time in which the film was produced.