Katedra kamery - KK / Department of Cinematography

Permanentní URI pro tuto komunitu

http://hdl.handle.net/10318/25

Procházet

Procházet Katedra kamery - KK / Department of Cinematography podle oponent "DOMINKOVÁ, Petra"

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  • Female cinematographers focus: The Male and Female gaze
    Buthrasri, Parinee
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2023)
    Datum obhajoby: 2023-06-09
    This present theoretical thesis research intends to explore and investigate the work of female cinematographers who are emerging in this classical and contemporary cinema. By analyzing some of their selected works along with the theoretical context of the feminine gaze. The cinematographer stands as an artist who has interpreted the story visually according to their social and cultural context. The research focuses on the works of three female cinematographers; Claire Mathon, Agnès Godard and Babette Mangolte who are different in terms of visual style, subject matters and their cinematography approach. The intention of this thesis is to reflect on the female cinematographers’ works and to adore and reminisce on all the female artists in all fields.
  • The Cinematography of Rachel Morrison
    Alcalde, Nelisa
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2021)
    Datum obhajoby: 2021-09-29
    Tato práce představuje práci první ženy, Rachel Morrison, nominované na Oscara v kategorii “Nejlepší kamera”. Na základě analýzy některých děl, které vytvořila, můžeme lépe identifikovat její vizuální styl: Subjektivní naturalismus. Tato studie je založena na sérii on-line Zoom rozhovorů, které jsem uskutečnila s Rachel Morrisonovou. Během rozhovorů, jsme diskutovali o jejím osobním a pracovním životě.
  • The Portrayal of Reality on films after Italian Neorealism
    Grandino, Bruno
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2022)
    Datum obhajoby: 2022-09-26
    Beginning in Italy in 1942 with the release of ‘Obsession’ (1942) by Luchino Visconti, Italian Neorealism was a movement that aimed to move away from the look of glamourized film productions of the time in favor of a more realistic depiction of human lives. The neorealist films that were born as a reaction to the Fascist ideology, featured workers and poor people as a way to oppose the regime’s ideals and also show the struggles which the Italian population was going through during and after the war. The goal of this thesis is to understand how realism was achieved in neorealist films in regard to cinematography and camera techniques. The thesis offers a definition of terms such as ‘realism’, ‘naturalism’, ‘deep focus’, and ‘newsreel aesthetic’ alongside a brief overview of the development of realism in art and the development of cinematography lighting until the 1940s in order to analyze how they come together to shape the neorealist movement’s aesthetic. Using primarily Rome, Open City and The Earth Trembles, film analysis is provided in order to exemplify the neorealist aesthetic while explaining how the filmmakers’ choices granted an increased sense of realism to their films. Ultimately, the findings are extended to an analysis of how the neorealist choices influenced other filmmakers and how they pushed the realistic representation further.