Filmová a televizní fakulta - FAMU / Film and TV School

Permanentní URI pro tuto komunitu

http://hdl.handle.net/10318/19

Procházet

Procházet Filmová a televizní fakulta - FAMU / Film and TV School podle oponent "BERGAN, Ronald"

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  • 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.
  • 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 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.
  • 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.