Mythological and Mythogenic Aspects of Star Wars and the Specificities of its Stories in Regard to Serialized Storytelling covers the six stories of the Star Wars series in relation to Emil Volek's story model whose terminology and story typology is used to describe how the stories influence one another, which is to say, how the stories influence the reception of the other stories in the series and how the reception has changed over time. The diploma thesis also examines how myth is being applied to Star Wars and reflects whether such connection is justified. Both Star Wars and myth are given a definition and the relationship between the series and Joseph Campbell's monomyth, a concept frequently connected to Star Wars, is explored. The final part of the text describes narrative elements and processes participating in the creation of the original trilogy. An appendix covers various issues in regard to the translation of the series into Czech and briefly evaluates existing translations.

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[pt] Esta tese se propõe a analisar a fábula Dinossauro Excelentíssimo, de José Cardoso Pires, procurando identificar os procedimentos com os quais o autor representa as relações entre a censura e o poder da palavra e, consequentemente, a dimensão política que se configura a partir dessa relação. Pretende-se observar, na obra citada, as estratégias utilizadas pelo autor para criar a história de um personagem ditador, o Imperador da Torre das Sete Chaves, que manipula as palavras com a finalidade de espalhar o medo no Reino dos Mexilhões. Isso possibilitou ao escritor interrogar as memórias do cotidiano da ditadura salazarista e incorporar, na ficção, fatos históricos que marcaram a história político-social da sociedade portuguesa. Desse modo, investiga-se o diálogo existente entre história e ficção, com a intenção de demonstrar como o ditador censura a palavra do outro para construir o discurso opaco do poder. Por fim, verifica-se o modo como é delineada a imagem do poder, inteligível através da metamorfose do Imperador em Dinossauro. / [en] The overall aim of this thesis is to analyze the fable Dinossauro Excelentíssimo, by José Cardoso Pires, identifying the procedures with which the author questions the relationships between censorship and the power of the word and, therefore, the political dimension that takes shape having this relationship as basis. This dissertation investigates, in the work cited, the strategies used by the author to create the story of a dictator character, the Emperor of the Tower of Seven Keys, who manipulates words with the purpose of spreading fear in the Kingdom of Mussels (a Kingdom), which enabled the writer to question the memories of everyday life in the Salazar dictatorship and incorporate, in fiction, historical facts that marked the political and social history of Portuguese society. Thus, the dialogue that exists between history and fiction in investigated with the intention of demonstrating how the dictator censors people s words to build the opaque discourse of power. Finally, it is verified the way in which the image of power is outlined, understandable through the metamorphosis of the Emperor into a Dinosaur. / [fr] Cette thèse vise à analyser la fable Dinossauro Excelentíssimo, de José Cardoso Pires, pour y identifier les procédures avec lesquelles l auteur interrogue les relations entre la censure et la puissance de la parole et donc la dimension politique qui est configuré de cette relation. L intention c est d observer, dans l ouvrage cité, les stratégies utilisées par l auteur pour créer l histoire d un caractère, personnage, dictateur, l empereur de la Tour des Sept Clés, qui gère des mots avec le but de la peur au tour du Reino dos Mexilhões, dans le ce qui a permis à l auteur de s interroger sur les souvenirs de la dictature de Salazar au jour le jour et à intégrer, dans la fiction, les faits historiques qui ont marqué l histoire politique et sociale de la société portugaise. Ainsi, nous étudions le dialogue entre histoire et fiction, avec le but de démontrer comment le dictateur censeure-t-il la parole de l autre pour construire le discours opaque du pouvoir. Enfin, il y a la façon dont elle est présentée l image du pouvoir, intelligible par la métamorphose de l empereur dans le Dinossauro.

En adaptionsanalys som utforskar relationen mellan romanen Cloud Atlas av David Mitchell och dess filmatisering (2012) av Tom Tykwer och syskonen Wachowski. Fokuset ligger på skillnader och likheter i narrativ och vilka visuella möjligheter som kunnat tillföras när romanens handlingen gjordes om till filmformat.

Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.