FAMU International

Permanentní URI pro tuto komunitu

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

Procházet

Procházet FAMU International podle Klíčová slova "analýzy filmových děl"

Nyní se zobrazuje 1 - 20 z 36
  • A Cinema Emerges in Newborn Kosovo
    Mehmetaj, Dritero
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2022)
    Datum obhajoby: 2022-09-30
    Twenty years after the war in Kosovo, and ten years after the declaration of the independence, finally the cinematography of Kosovo is showing the glimpses of becoming a movement. Struggling between the old generation of filmmakers driven by war stories and the young generation of filmmakers driven by the social context in the post-war society, films produced in Kosovo are finally braking their own way to international festivals and gaining international recognition.This thesis focuses on some of the most successful and critically aclaimed films that are made in Kosovo since the declaratin of independence in 2008 and tries to analize them, with the goal of identifying similarities and patterns that connects these films with each other. How are they made, how are they founded, what storys to they tell, the source of inspiration, the background of the authors and the motivation behind their work, in order to come to a conlcusion on what are the defining patterns of this movement.Among the awards recieved by these films are some of the main prizes in important festivals such as Sundance, Roterdam Film Festival, Karlovy Vary Film Festival and nominations in festivals such as Berlinale, Toronto Film Festival, Oscar Nominations, etc.
  • 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.
  • Characters and Relationships through Food and Drink in Indian Cinema
    Naik, Barkha
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2023)
    Datum obhajoby: 2023-06-09
    In India, an image of a person or persons eating can reveal significant information about their identity, their emotional status and the nuances of their relationships. This dissertation attempts to understand the different ways in which food, drink and associated practices, traditions, rituals, beliefs and behaviours are used in Indian films to depict identities like caste, class, community, religion, gender, and beliefs of characters, their emotions and the dynamics of their relationships. The thesis will analyse how Indian filmmakers use camera angles and movement, shot sizes, colour, props, lighting, performances, music and other filmmaking tools to convey this information in “food scenes”.
  • 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
  • Constructing a Heroine
    Sahiti, Noar
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2020)
    Datum obhajoby: 2020-09-18
    This thesis examines the conception of a heroine in fiction screenwriting by analyzing the work of Danish filmmaker Lars von Trier. It mainly focuses on the inscribed qualities and characteristics of his female protagonists, and interprets their instrumentality and influence over their narratives, outlining each character's social, emotional, and intellectual entanglements and utilizing their predicaments to assess their agency and empowerment within Lars von Trier's universe. It also addresses the peculiarities of what constitutes a von Trier heroine, referencing Freytag's technique of the drama, and offers a comparative approach between the heroines themselves. The thesis also concentrates on what each of these characters have to say about the state of society, and their resolve in confronting the hardships imposed upon them.
  • 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.
  • 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.
  • Desire in Duras
    Šustić, Dora
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-20
    The thesis will research the ways Marguerite Duras, one of the most controversial and fruitful female writers and filmmakers of the twentieth century, employs certain elements of film language in order to expose complex inner landscape of her female characters, thus creating distinctive poetics that evokes her écriture féminine. Deriving from nouveau roman, a movement in French literature that questioned traditional modes of literary realism, Duras approached film medium in her own courageous way, deconstructing plot, fragmenting time through total separation of audio and image, using silence, repetition and absence as particular poetical elements. Comparing films Duras wrote and directed herself to the adaptations of her work done by male directors, the thesis will demonstrate how experimentation in film language was crucial in order to portray the elusiveness of female desire that was such a principal preoccupation of Marguerite Duras. Equivalent to Lacan’s definition of desire and poststructuralist feminism, where desire is perceived as a state of eternal unfulfillment inevitably marked by melancholy, Duras’s oeuvre is marked by contrasting principles of thematic continuity and formal discontinuity, with the emphasis on sensuality of image rather than its interpretive attainability, thus treating desire from inwards, as inscribed in text and image, in oppose to mere descriptions. Heavily under the influence of her earliest love affair, Duras moulded her autobiography into the tissue of her work, blurring the line between fiction and reality, presence and memory, love and longing. Capturing the ineffable on screen by extending the boundaries of cinema as visual medium, Duras exposed female desire in its rawest form, purely feminine, liberated from phallocentric gaze. This thesis will argue that by doing so, Duras empowered women as writers, authors, subjects, and created space for a sincere dialogue about love and sex.
  • 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.
  • Evoking the World of the Past in Andrei Rublev and The Colors of Pomegranates
    Hamasyan, Melanya
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2024)
    Datum obhajoby: 2024-06-13
    This thesis aims to explore the multifaceted approach to evoking historical reality in cinema through an examination of two seminal films, "The Color of Pomegranates" by Sergei Parajanov and "Andrei Rublev" by Andrei Tarkovsky. The films were created during the mid-late 1960s in the Soviet Union, a period marked by political flux. By scrutinizing how these films navigate the complexities of representing historical figures and events, we can uncover the interplay between socio-political contexts, artistic vision, and historical authenticity.
  • Expressionism in 21st Century Film
    Ziyalar, Emir
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2020)
    Datum obhajoby: 2020-09-18
    Expressionism in cinema emerged in Germany in early 1920’s and it became the dominant movement in 1920’s and 1930’s. Many masterpieces were created in that era, which were very unique and innovative in various aspects. The movement lost its power and presence in the following decades due to the circumstances in Germany. Even so, the influence of expressionism continued to exist until today and embodied itself in many contemporary films. This dissertation aims to prove that there is an undeniable connection between early German expressionist cinema and some of 21st century films and this way, it aims to prove that expressionism is still an on-going approach towards the craft of filmmaking. It aims to achieve this through a methodical analysis of the unique characteristics of expressionist filmmaking that is shared by both classical and contemporary examples of expressionist cinema.
  • 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.
  • 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.
  • Hibakusha cinema as means of rediscovering identity
    Malinowska, Karolina Joanna
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-20
    The thesis explores the topic of Hibakusha cinema which developed after the atomic bombing of Hiroshima and Nagasaki during WW II. The study focuses on rediscovering identity by Japanese society after the nuclear explosions. The aim of the analysis of hibakusha films directed by the generation of filmmakers who survived the war will aim to present how Japanese rediscovered and redefined their identity as a nation after the bombings. Filmmakers were chosen on the basis of their first-hand experience and insight into the Japanese condition before and then after the war. Thesis refers to Junichiro Tanizaki’s essay on Japanese aesthetics In Praise of Shadows. His examination of the society sheds new and interesting light on the Japanese outlook on the world and art. This thesis focuses also on the work of Akira Lippit Atomic Light (Shadow Optics). The publication provides the analysis of the atomic light as a new concept for interpreting the meaning of light, especially the cinematic light. Apart from a general overview of the Japanese history and culture thesis focuses on in-depth analysis of the content and form of movies of Akiro Kurosawa, Kaneto Shindo, Shinsei Adachi, and Hiroshi Teshigahara.
  • 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.
  • Lynne Ramsay: Character´s multi-sensorial experience
    Sefa, Norikë
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-20
    This thesis is motivated by my strong conviction that the films written and directed by Lynne Ramsay are worthy of serious engagement and critical scrutiny. The Scottish filmmaker is one of the rare artists who was able to bend the cinema to the shape of her own extraordinary vision, which establishes her among the most original voices working in independent cinema today. This dissertation is also motivated by my curiosity about the seemingly inexhaustible pleasure and edification I derive from her films. It analyzes the consistency,meaning, persistence of style and theme in the corpus of her work. Ramsay’s filmmaking was always described as “cine de autor” (auteur cinema). Indeed, her films are an evidence of a personal involvement in every aspect of filmmaking. This thesis will define and explore the characteristics and conditions of her authorship which constitute an expression of the enduring usefulness of auteurist criticism. In this case, this critical approach tends to yield the deepest insights into her films, identifying the unique qualities of Ramsay’s film grammar, such as the narrative, aural, visual components, while stimulating quests for the importance of the auteur. Since, my research into the literature on the films of Lynne Ramsay failed to find any serious evaluations, my analysis benefits from references taken by different theories included in the thesis and by the audiovisual materiál provided by the films. Primarily, it is an approach to criticism I learned from my mentors at FAMU( Film and TV School of Academy of Performing Arts in Prague), while my direct experience as film-maker will add an operative critical approach to elaborating the stylistic trademarks and identify director’s artistic and dramatic decisions. Each film will be subjected to a close reading illustrated with images from it. These readings aim to structure Ramsay’s method of creation while thinking with the films rather than thinking against or about them
  • 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.
  • Miss Representation
    Satish Dulipati, Apoorva
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-20
    This study mainly focuses on examining the metamorphoses of female character archetypes in popular fiction films and analyse the crucial impact of such transformations of film characters in gender roles. The study aims to identify and examine female characters appearing in classical feminist texts, theoretical and critical articles, psychoanalytical works in drama therapy and film science. This archetypal research has based itself on the information provided by the sources mentioned above. Furthermore, the study also explores the stereotypical portrayal of female sexuality and the conventional patterns present in the text, communicated to audiences in the context of gender roles.
  • Mythical Films of Theo Angelopoulos:
    Yang, Xueni
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2023)
    Datum obhajoby: 2023-06-09
    Theo Angelopoulos establishes his film category with his distinctive long takes and epic storytelling. His films won international recognition with a strong mythical tone created through all aspects of character, cinematography, and narration. As a filmmaker in the 21st century, Angelopoulos sets an example of retelling regional traumas to the global audience with an unconventional style. By comparing Angelopoulos’ films with Bakhtin’s Greek romance, the thesis will analyze his approach to reshaping personal stories into modern myths. The correlations between his characters, cinematography, and narrations establish a surrealistic world rooted in reality. The struggle for self-identity and the passivity of an individual become Angelopoulos' primary concern. He further amplifies and externalizes them through wide shots, the long lens, and consistently moving long takes. Compressing several historical times into one sequence shot, he blurs the boundary between reality and memory, the past and the present, consciousness and subconsciousness. Emphasizing on the expansion of time, his stories contain flexible time and space that allow more influence of chance instead of a causal effect. With these artistic choices, Angelopoulos allows more ambiguity in his films and finds the collective memory and emotions shared by the global audience. He connects and encourages his audience by providing a common dream with space to fill and imagine.
  • Narcissism and the Cinema of Xavier Dolan
    Sheikhha, Sheida
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2022)
    Datum obhajoby: 2022-06-07
    A narcissist, as defined by the Merriam-Webster dictionary, is one who is “extremely self-centered with an exaggerated sense of self-importance”. Nowadays, narcissism is often studied in regards to contemporary culture, social media, celebrities, and the younger generation. The culmination of these topics can be found in French-Canadian filmmaker and acclaimed "wunderkind" Xavier Dolan. In the thirteen years since his directorial debut at the young age of nineteen, Dolan has gone on to direct eight feature films, four of which he has also starred in. Drawing on deeply personal and at times autobiographical themes, it may be difficult to separate Dolan's characters from Dolan the filmmaker. This may be why, oftentimes, particularly in critiques of films Dolan directs and acts in, he’s criticized of being a “narcissist”. This thesis aims to provide an overview of narcissism and to classify the narcissistic character traits to look for in a study of Xavier Dolan’s filmography, split into films he has only directed and films he has directed and acted in. We will then analyze the alleged elements of narcissism in the underlying theme, the visual style, and the characteristics of the main characters in order to determine whether these films can rightfully be considered narcissistic or not. Lastly, the critical acclaim and success that Dolan has been faced with begs the question of whether narcissism is in opposition to universality or whether there is a factor of relatability associated with his films, regardless of, or maybe because of, the claims of narcissism.