FAMU International

Permanentní URI pro tuto komunitu

http://hdl.handle.net/10318/21

Procházet

Procházet FAMU International podle vedoucí "BERGAN, Ronald"

Nyní se zobrazuje 1 - 4 z 4
  • Duality as a creative principle in the films of A. Żuławski
    Lenak, Miliana
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Datum obhajoby: 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.
  • Heroes of New Russia
    Shidlovskiy, Kirill
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Datum obhajoby: 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.
  • The FIilms of Lucrecia Martel
    Ortiz Cordero, Edgar Josue
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Datum obhajoby: 2016-10-07
    This thesis is a study on New Argentine Cinema director Lucrecia Martel. It analyzes her work so far by discussing her feature films relative to their narrative, aural, visual and thematic components. Lucrecia Martel explains that she constructs her films by “layering” narrative and emotional content. This thesis will analyze what this statement means. Through these elements, the thesis attempts to characterize Martel's unique qualities as an auteur by paying particular attention to the elements of film grammar, such as sound and image design, which she uses to convey relevant plot information and to create meaningful metaphors that expand the image-space. The thesis will contribute to the relatively little written in English on Lucrecia Martel.
  • The films of Abdellatif Kechiche
    Lyubynetska, Anna Nuriya
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2017)
    Datum obhajoby: 2017-10-06
    This thesis studies the directing and scriptwriting work of French-Tunisian director Abdellatif Kechiche. In this thesis, the director’s five feature films will be analyzed based on such elements as narrative structures, themes, visual and sound language and construction of characters. On the basis of a close study of these elements, the thesis will analyze the stylistic choices, which form Kechiche’s directing as well as the tools he uses to create new realist films in contemporary France. Abdellatif Kechiche explains that he doesn’t want his cinema “to look like life, I want it to actually be life. Real moments of life, that's what I'm after." (Romney, 2013) This thesis will analyze the meaning of this statement.