This diploma thematically follows on my bachelor thesis The Choices for stagemanaging native tribes' mythic narrativesfrom the point of view of the stage designer. In my Bachelor Thesis I focused mainly on the research that preceded the production of my bachelor show Drink coffee, ride reindeer, as well as the mapping of the work itself, including the reflection. Now I extend my field of interest. I deal with myths, fairy tales and dreams, both in my own and in foreign works. I try to point out the points of contact between these three phenomena and to find their manifestations in the theater as well as in the visual arts. At the same time, I devote myself to describing how I build my own production, what is important to me in creation, and where I notice similar trends in other contemporary art.

Research on the phenomena pareidolia and its relation to simulacra.

Diploma work focuses on the use of a photocopy process as an art form.

I interconnect artist's body with objects of daily use in my work. I'm looking for a new contact and connection where is possibility of contact with disinterested spectator. The result is a series of photo performances

The content and theme of this thesis is the expression of time in the photographic medium. I'm looking for a way to memories that I don't remember. The result is photo manipulation.

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The first part presents a brief summary of the historical genesis of cameraless photography in the context of the general history of photography. In line with G. Batchen's concept, the work emphasizes the autonomy of this technological and expressive process and qualitative comparability with the procedures and manifestations of classic camera photography. This "photographic history" culminates in the development of avant-garde photographic experiments, especially in the systematic development of Man Ray's "rayograms." Against the avant-garde concept (dadaism, Bauhaus, elements of graphic constructivism) is defined the concept of Běla Kolářová from the beginning of the sixties of the 20th century, which forms the very theme of the work. Specific procedures and concrete results of Běla Kolářová´s work ("artificial negatives", "X-rays of the circle", "light drawings") are observed in the context of the creative experiments of the Czech art scene of the time: visual poetry, J. Kolář's collages, Czech informel, neoconstructivism and geometric abstraction, „Confrontation“ and „Crossroad“ groups, etc. The originality of Kolářová's contribution is reflected through the analysis of the interpretation works of the Czech kunsthistory (J. Hlaváček, J. Valoch, K. Císař, J. Padrta and others). It is emphasized in what Kolářová's creation of photograms exceeds conventional classifications, and what specifically refers to non-derived creative resources and conceptualizations (M. Duchamp, R. Caillois, surrealism, W. Benjamin). From these comparative aspects, the conclusions are generalizing the contribution and importance of the cameraless photography of Běla Kolářová as a legitimate part of the history of Czech visual art of the second half of the 20th century.

The paper focuses the career of photographer Stanislav Tereba, the only Czech winner of the main World Press Photo Prize. He succeeded with the photography of Miroslav Čtvrtníček, the soccer goalkeeper, played in Prague, Letna stadium. The paper deals mainly with Tereba's work in evening paper Vecerni Praha where the winning photography was paid a great attention there. As well as a lot of journalists since the 1990's Tereba have faced the problems after the Velvet Revolution when his career nearly stopped as the media went to private ownership. Tereba's career is explored in the context of the development of sports photography in the Czech Republic. Tereba's photographic style is studied by using semiotic analysis and the method of compositional interpretation there. In addition, the work consists of a case study of Tereba's success in World Press Photo. Tereba's photography is compared to the other winning photographs as well as to the competition in 1959 when he was honored with the main prize at the expense of war photographs usually awarded. Attention is also paid to the creation of Tereba's winning photography from participation in the stadium to subsequent photo editing.

Title of the Master's Thesis: Using photographs in marketing campaigns on social networks Abstract: This master's thesis focuses on the issue of authorship of the photographs used in marketing campaigns on social networks. For the purpose of dealing with this matter, the thesis defines how the company which is willing to use the photographs in marketing campaigns on social networks, should act so that there wouldn't be any violation of authorship of photographer or any violation of the photographed person's rights. The thesis also specifies the matter of another author's work that could pose as a theme of a photography. The thesis deals with the issue of in which circumstances could the photography be used on social networks. The text of this thesis itself is divided into eight chapters. At first the topic of photography is specified not only from historical side but also from the legal point of view. Moreover, there are individual aspects of authorship related to photography as authorship and photographer's right. Text of this master's thesis defines personal and property rights to photograph. The thesis also deals with restrictions associated with capturing someone or somebody else's belonging in the photo. It also describes the issue of usage of a photography without author's permission and mainly with...