Procházet podle oponent "DOMINKOVÁ, Petra"

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  • 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.
  • Blue Kitano
    Montaldo, Grégory
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2021)
    Datum obhajoby: 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.
  • Constructing Meaning: Metaphorical Frameworks in Cinema
    Rios Rodriguez, Victor Alejandro
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2024)
    Datum obhajoby: 2024-06-13
    This thesis investigates how metaphor contributes to the thematic depth and viewer's understanding of cinema through a mixed methodology based on Aristotle's definition of metaphor. The study focuses on motion pictures by Hayao Miyazaki, Andrei Tarkovsky, and Béla Tarr concerning metaphorical concepts from Paul Ricoeur, theories of unconscious and dreams from Carl Jung, and interpretation of space by Gaston Bachelard. The results reveal that metaphor in cinema functions beyond semantic or systematic ornamentation. Metaphor is a transformative tool during the creative process, beginning with the filmmaker's preceding observation. Then, the viewer experiences metaphor through the perception of time and space within a film. As a result, new and broader meanings emerge as a moment of exchange between the filmmaker and the audience.
  • 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.
  • 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)
    Datum obhajoby: 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.
  • Filmová psychedelika: Pátrání po mimořádných stavech vědomí ve filmech Sandoz
    Petříková, Lea
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2024)
    Datum obhajoby: 2024-03-22
    Disertační práce se zaměřuje na téma mimořádných stavů vědomí v uměleckých filmech farmaceutické společnosti Sandoz. Ústředním zkoumaným fenoménem je tematický záběr uměleckých filmů společnosti Sandoz vzniklých především v šedesátých a sedmdesátých letech dvacátého století, které se různými způsoby zabývaly reflexí mimořádných stavů vědomí. Práce zkoumá skrze historický archivní výzkum samotné archivy společnosti Sandoz, mapuje jejich současný stav, a odhaluje produkční zákulisí filmové platformy Sandoz a také psychedelické farmaceutické výroby společnosti, a tyto fenomény zasazuje do společensko- ekonomického kontextu kontrakultury a psychedelické revoluce šedesátých let dvacátého století. V další části se práce zabývá tématem psychedelického filmu a otázkou, zda vybrané filmy Sandoz mohou být považované právě za psychedelické; skrze objasnění základních pojmů (psychedelický film a další pojmy spojené s tímto žánrem, mimořádné stavy vědomí, ale také psychedelický účinek, několik teorií psychedelického filmu), se práce dostává k samotným estetickým analýzám vybraných filmů, skrze něž se pokouší o prokázání psychedelických aspektů snímků. Práce obsahuje také studii tvorby amerického filmaře Edda Dundase, který pro Sanodz pracoval; Dundasův film The Burning Ear je pak podroben analýze z queer perspektivy.
  • Intertextuality in Jim Jarmusch’s Only Lovers Left Alive and Paterson
    Gambarov, Rovshan
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2020)
    Datum obhajoby: 2020-09-18
    The thesis is a study of intertextual relations between Jim Jarmusch’ films and other works of cinema and literature. The aim of the thesis is to analyze referential and typological intertextuality in two of Jarmusch’s movies, Only lovers left alive (2013) and Paterson (2016), by exploring direct and indirect connections to other texts. Jarmusch’s films are very dense with intertextuality, including allusions, quotations, calque and parody of genre clichés, which is done intentionally in order to influence and enrich an audience's interpretation of the ideas expressed in his films. I argue that exploring intertextuality in Jarmusch’s movies can contribute to better understanding of his messages to audience, especially his social commentaries, expressed in deep layers of the films.
  • 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 Finale in the Films of Bruno Dumont
    Hallsson, Haukur
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2021)
    Datum obhajoby: 2021-09-27
    The thesis’s focus will be on the endings in the films of the French filmmaker Bruno Dumont. Dumont’s films throughout the years have had mixed reactions by audiences. This is partly due to the fact that in some ways his films tend to go against common expectations of narrative cinema. While discussing his thoughts on the relationship between his films and the audience, as well as the role of the spectator, Dumont stated that he does “not finish his own films”. Drawing from that statement the aim of this thesis is to explore how and why his films often end with an unresolved plot, unanswered questions or without an obvious dramatic resolution. Firstly by discussing classical theories of dramatic storytelling and how endings function within a dramatic structure. Following that it will move on to compare the way in which Dumont follows classical conventions of storytelling to the way he breaks away from those conventions, a way in which this thesis will argue lies mainly in the finales of his films. It will analyse reappearing elements in the endings of Dumont’s films, elements that substitute a more traditional resolution and can serve as a key for an interpretation of his films.
  • 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.
  • The Representation of Youth in Lebanese Cinema
    Basma, Layla
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2023)
    Datum obhajoby: 2023-09-15
    This thesis seeks to analyze the representation of the youth in Lebanese cinema by exploring the sub-themes of different coming-of-age films made in Lebanon from the last decade and exploring how they are immediately connected to the country’s socio-political situation. It also explores the evolution of these coming-of-age films and stories over the years, because of the introduction of new shifts in Lebanese society. Finally, the thesis aims to paint an overall picture of the Lebanese youth and analyze the differences it has with the Western young generation.