FAMU International

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

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Procházet FAMU International podle Rok vytvoření

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  • Alternative storytelling principles
    Marinović, Ivan
    (Akademie múzických umění v Praze. Filmová a televizní fakulta AMU, 2011)
    Datum obhajoby: 2011-10-31
    During my film studies we were thought how to understand and how to apply rules of screenwriting of traditional drama structure. Besides the three act structure, there are alternative episodic ways of constructing a narrative with their own rules. However many succesful episodical films lean on the traditional three act structure. My aim was to recognize the principles of combining of the structures, and to explore how they are rendered through directing within films of high cinematic quality. Through four contemporary revisionist westerns four potential principles are found that could be applied in screenwriting of other genres as well. These films are showing how to avoid the formulaic storytelling sollutions, while they prooveing that socially relevant themes can be explored within genre films that mass audiences are eager to see.
  • Pasqua
    Marinović, Ivan
    (Akademie múzických umění v Praze. Filmová a televizní fakulta AMU, 2011)
    Datum obhajoby: 2011-10-31
    Niko is a proud, old and fast fused captain of the ship called Pasqua whose fishing business is going wrong. It is 90?s in Montenegrin part of Adriatic and the sea is full with everything but fish: dead people, smuggled cigarettes, illegal immigrants, etc. In the sea of corruption Captain will have to cross his archaic ethics by smuggling a cargo of cigarettes across Adriatic in order to keep his fishing boat. He is accompanied with his ridiculous crew and a young castaway Marina on this rough and turbulent journey. After the many failures of his tragicomic mission Niko will manage to maintain his ship that presents his life, his social status, his integrity and his ego. However, he will remain trapped in the contraband system. Transformed by the events of his journey, Niko regains his freedom and his lost dignity by sinking his own ship.
  • A director´s subtle control with different approaches for getting ac tors into the moment
    Pimentel, Carla Carolina
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2013)
    Datum obhajoby: 2013-01-31
    V průběhu mého studia režie jsem pochopila, jak pracovat ve spolupráci a vzájemném propojení různých aspektů a složek filmové tvorby, jež společně přispívají k vytváření úspěšných filmů. Po důkladné praktické analýze významných filmů a práce jejich tvůrců, s použitím vštípených znalostí vizuálních teorií, se jasně ukazuje, že filmová tvorba není zcela tak snadná, jak se na první pohled může zdát. Mým cílem je objasnit několik starších i současných technik režie v několika různých podobách. Konkrétně jsem se zaměřila na práci s hercem. Touto prací se pokouším prostřednictvým příkladů cvičení, popisů situací a různých technik, stejně tak jako praktických příkladů a jejich užití, pomoci režisérům s pochopením odlišných přístupů v práci s herci i neherci. Režisérova kariéra je provázena nespočtem překážek, ale za pomoci intuice a rozvinuté kvalitní techniky, může být režisér kvalitně připraven i na nečekané překážky.
  • The Affected Flesh
    Mendoza, Valerio
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2013)
    Datum obhajoby: 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.
  • Making a film based on "antihero"
    Zaytseva, Anna
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2014)
    Datum obhajoby: 2014-06-06
    Metody a postupy, které umožní divákovi soucítit a identifikovat se se záporným protagonistou.
  • Circus elements as transcendental tools in film
    Popov, Dimitar
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2014)
    Datum obhajoby: 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
  • The Mother as a Protagonist in Macedonian cinema
    Nedeska-Trajkova, Verica
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Datum obhajoby: 2015-06-05
    As a future screenwriter, I am especially interested in the social, cultural and psychological characteristics that influence the development of film characters. The main focus of this thesis is the depiction of women, particularly mothers, in Macedonian film. The female character is not sufficiently exploited or explored and it's one of the main hoops missing in the already fragile Macedonian cinematography. Given this objective, this thesis explores the real and authentic representation of the woman in Macedonian cinematography, especially the depiction of the mother, by considering the female protagonists in three films from Macedonian cinema that have both influenced the Macedonian culture and have been influenced by the Macedonian culture. Those three films are Vojislav Nanovic's Frosina (1952), Teona Strugar Mitevska's A Woman who brushed off her tears (2012) and Milcho Manchevski's Mothers (2010). The female characters are examined for how they match up to real and ideal models from traditional cultures, how characteristics coming from the East-West dichotomy are used in the creation of these characters, and how the characters relate to Jung's description of the mother archetype.
  • THE IMMERSIVE WORLD OF VIDEO GAMES AND THE GAMING CONCEPTS IN THE FUTURE OF CINEMA
    Unkovski, Georgi
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Datum obhajoby: 2015-10-09
    This thesis will deal with the concept of immersion in video games and it will discuss the possible implication Video Games can have on Cinema while investigating immersion as a quantifiable experience through the analysis of ?Heavy Rain? (2010 PS3 title). This thesis will also explore the negative aspects of immersion and present arguments for and against the advancement of spatial and kinaesthetic immersion technologies. In continuation the thesis will explore the development of these two media in an attempt to visualize the future landscape of storytelling.
  • The Diversity of the Femme Fatale Character in Film
    Naumovska, Frosina
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Datum obhajoby: 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.
  • The Rise of Cinema in Iraqi Kurdistan
    Piper-Burket, Emma Catherine
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Datum obhajoby: 2015-10-09
    Iraqi Kurdish cinema has emerged as a growing film movement since the early 2000s.
  • 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)
    Datum obhajoby: 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.
  • "Pathos" as an ultimate inspiration in the macedonian cinema
    Banov, Dimitar
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Datum obhajoby: 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.
  • Revealing the Hidden Symbols and Agendas within Music Videos
    Turski, Andrew
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2015)
    Datum obhajoby: 2015-10-09
    The objective of this thesis is to explain and better understand the reoccurring themes and symbols in the music industry that are seen as evil, and which are commonly associated with the infamous, secret society: The Illuminati. It is important to know the significance of these themes and symbols, and the effect they have on the viewers on a subconscious level. This, in turn, allows a better understanding of the future of the American music industry (which, in part, influences the future of society). The paper begins with a brief overview of the Illuminati and their main objectives. Moving towards a history of symbols used, the basis of this research is an analysis of various music videos (including a live performance) and how they affect the public through two negative ways: instilling a satanic presence through rituals and reinforcing sexual perversion. In conclusion, there are many themes and symbols that appear repeatedly in the music industry that should not be ignored due to their significance. Although the spectrum of music videos that have these negative effects is quite broad and difficult to summarize in one study, this research will act as a stepping stone into a much needed realm of exploration
  • 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 Promise and its Ethics
    Põhjala, Priit
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Datum obhajoby: 2016-10-07
    I have taken the subject of Ethics in the film The Promise (1996) by the filmmakers Jean-Pierre Dardenne and Luc Dardenne as a case study in the use of philosophy, in this instance that of the French philosopher Emmanuel Levinas (1906 - 1995), and how it can inform all aspects of storytelling. While not the only viable interpretation of the work, Levinas' thought is most relevant to the narrative as well as to the larger intellectual goals of the film. His ethics here is not here merely tacked on intellectualism but is formative of the characters and the story told by the filmmakers, to the point where the film itself becomes a test for the acceptability of the philosophy, akin to a though experiment in film form, something that it at the very end fails to prove. Despite its philosophical and story telling short comings, the Promise is a good showcase of the use of philosophy in filmmaking and where it's successes show the strength of this approach it's failures show the perils of it, something that the Dardenne brothers have shown to have learn from in their subsequent films.
  • 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.
  • 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.
  • The films of Stefan Sidovski
    Spasikj, Jane
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2017)
    Datum obhajoby: 2017-10-06
    Research and analysis on the work of Macedonian independent/amateur filmmaker Stefan
  • Contemporary Chinese Art -house Cinema and Genre Wenyi
    Xie, Piaoyu
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Datum obhajoby: 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.
  • Screenwriting in the era of binge-watching
    Fernandes Bahia Baer, Carlos
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Datum obhajoby: 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.