Dans les années 1970, les cinéastes soviétiques arrivaient à faire des films de qualité malgré toutes les contraintes et bien qu’étant obligés de tourner conformément aux critères de la censure. On peut parler de l'originalité et d’une certaine liberté d'expression, comme les caractéristiques du cinéma soviétique de cette période, puisque le contrôle du contenu des films est devenu moins strict par rapport aux décennies précédentes. Ces années sont marquées par la naissance de la collaboration fructueuse du cinéaste Nikita Mikhalkov avec le compositeur Edouard Artemiev. Un regard très profond sur l’histoire et la littérature de son pays est la particularité de toutes les créations de Mikhalkov, ce qui lui a valu le Grand Prix au festival de Cannes et l'Oscar du meilleur film étranger avec Soleil trompeur (1994). Quant à Artemiev, l’auteur de l’Opéra Crime et Châtiment, la maîtrise des différents styles (musique savante, musique électronique, musique rock et musique du monde) lui a permis de posséder une large palette de possibilités pour accomplir les tâches les plus difficiles en matière de musique de film. Il s’agit donc du tandem de deux maîtres incontestables dans leurs domaines respectifs, deux artistes qui se complètent. Ce travail de recherche vise à explorer le langage musical et les choix esthétiques d’Edouard Artemiev, ainsi que les différentes fonctions de sa musique dans les films de Nikita Mikhalkov. Cette étude s’appuie sur des extraits de partitions, fournissant ainsi au lecteur des références concrètes. / In the 1970s, the Soviet filmmakers, despite of all the restraints and being obliged to conform to the censorship criteria, were able to create quality movies. It is possible to consider that the originality and a certain freedom of expression were the characteristics of the Soviet cinema at that period, due to the fact that the control over the content of movies had become less strict than in previous decades. These years were marked by the birth of the successful collaboration between the filmmaker Nikita Mikhalkov and the composer Edouard Artemiev. A deep insight of his country's history and literature is a distinctive feature of all the movies made by Mikhalkov. This particularity brought the director the Grand Prix at Cannes and the Oscar for the best foreign film for his movie Burnt by the Sun (1994). As for Artemiev, the author of the opera Crime and Punishment, his perfect knowledge of different styles (classical music, electronic music, rock and world music) allowed him to possess a wide range of possibilities in order to accomplish the most difficult tasks in creating the film music. This is the tandem of two incontestable masters in their respective fields, two artists who complement each other. This research aims to explore the musical language and the aesthetic choices of Edouard Artemiev, as well as the different functions of his music in the films of Nikita Mikhalkov. This study is based on the extracts of different scores, providing the concrete references to the reader.

En los últimos años, han aparecido muchas películas para adolescentes en la industria cinematográfica. De igual manera, algunas de estos largometrajes han sido criticados por el hecho de los distintos tipos de contenidos sexistas que pueden aparecer dentro de estas. Un ejemplo concreto es “ El Stand de los Besos”. Cuando esta película se estrenó en el 2018 por Netflix, muchos youtubers cinéfilos demostraron su disgusto y desagrado a través de sus video críticas. Asimismo, algunos de ellos señalaron que el sexismo puede observarse con mayor detalle en los personajes, líneas argumentales y diálogos del filme. Por este motivo, se decidió investigar de qué manera se representa el sexismo en la película de “El Stand de los besos” según lo analizado por los youtubers. De esta manera, se optó por realizar un grupo focal con un grupo de 6 estudiantes de secundaria pertenecientes a dos colegios distintos de Lima Metropolitana que cuentan con actividades extra académicas vinculadas a las críticas de cine. También tienen un rango de edad que encaja con el público objetivo de la película y del canal de algunos de los youtubers. De esta manera, se podrá averiguar mediante lo discutido en la actividad cómo se ve representado el sexismo, los estereotipos en los personajes y las críticas controversiales de los youtubers acerca de la película. / From the past five years, teen movies have increased cinematography. Many of these have been criticized for their sexist content present in most films. A clear example is “The Kissing Booth” which was released in 2018 by Netflix. When this movie came out, many youtubers moviegoers made reviews for the film. They commented about their main problems about it, but the most common was the sexism in the whole film, main characters and the story script. For this reason, the investigation consists of investigating how sexism is represented in the movie “The Kissing Booth” as analyzed by the youtubers. In this way, it was decided to carry out a focus group with 6 high school students from two different schools in Lima Metropolitana, which have extra-academic activities related to film criticism. On the other hand, these guys belong to the target and age range from most of the youtubes channels. This is how it will be possible to find out through discussion in the focus group’s activity how sexism stereotypes in the main characthers and the controversial criticism of youtubers about the film are represented. / Trabajo de investigación

El presente trabajo analiza los elementos de la evolución de recursos cinematográficos dentro de los videojuegos que podrían haber afectado en la inmersión de los jugadores, ya que, desde de la década pasada, los videojuegos se han ido posicionando dentro del colectivo imaginario hasta la actualidad. Estos, han logrado desenvolverse como una industria en el mercado global. Implementando dentro de ellos distintas diciplinas artísticas como es el caso de la cinematografía. El mencionado estudio hará uso de la metodología cualitativa de investigación con la finalidad de poder esclarecer, cuál es la percepción de los consumidores de videojuegos y especialistas sobre cómo los recursos implementados dentro de los videojuegos por parte de la cinematografía habrían afectado la inmersión de ellos. De esta manera, la propuesta de investigación analiza la relación que tienen los consumidores y especialistas sobre la evolución de los videojuegos, qué relación existe con la cinematografía y cómo afecto está a ellos. / The present study analyzes the elements of the evolution of cinematographic resources within videogames that could have affected the immersion of players, since, since the last decade, videogames have been positioning themselves within the imaginary collective until today. They have managed to develop as an industry in the global market. Implementing within them different artistic disciplines such as cinematography. The aforementioned study will make use of the qualitative research methodology in order to clarify the perception of videogame consumers and specialists about how the resources implemented whithin videogames by cinematography would have affected their immersion. In this way, the research proposal analyzes the relationship that consumers and specialists have on the evolution of videogames, what relationship exists with cinematography and how it affects them. / Trabajo de investigación

El cine en Perú es una industria que se presenta en proceso de un lento avance y que todavía no se consolida completamente, a comparación con países como México dentro de Latinoamérica, es por esto, que el cine no comercial, o mejor conocido como independiente, se muestra excluido del circuito de exhibición masivo como la televisión nacional. De esta manera, la propuesta de esta investigación analiza el circuito cinematográfico en cuanto a la distribución y exhibición de películas nacionales e internacionales; y se estudia el perfil del contenido transmitido en la televisión de señal abierta peruana. Incluyendo descripciones sobre el perfil del contenido realizado en Latinoamérica, enfocado a las producciones peruanas. Finalmente, se indaga en las características o elementos que deben tener las producciones cinematográficas al solicitar ser transmitidas en televisión de señal abierta. / Cinema in Peru does not present a completely consolidated industry, compared to countries like Mexico within Latin America, which is why non-commercial cinema, or better known as independent, is excluded from the mass exhibition circuit such as national television. In this way, the proposal of this research analyzes the cinematographic circuit in terms of the distribution and exhibition of national and international films; and the profile of the content transmitted on Peruvian open signal television is studied. Including descriptions of the content profile made in Latin America, focused on Peruvian productions. Finally, it investigates the characteristics or elements that film productions must have when requesting to be broadcast on open signal television. / Trabajo de investigación

Cieľom tejto práce je priniesť detailný pohľad na doterajší prieskum v oblasti sférických videí. Konkrétne sa táto práca zameriava na problém tvorby videa s normálnym zorným poľom zo sférického videa pre potreby zobrazovania. Prináša tiež implementáciu niektorých dostupných metód. Doteraz boli predstavené tri metódy v štyroch článkoch, ktoré riešia tento problém. Všetky priniesli zaujímavé výsledky a táto práca sa dvomi z nich zaoberá hlbšie. Táto práca tiež prináša základnú metódu využívajúcu overené metódy automat- ického orezu obrazu. Táto metóda je využitá na porovnanie so skúmanými metódami, u ktorých zvýrazní ich vylepšenia ale aj nedostatky. Na základe porovnania metód pomocou užívateľského experimentu táto práca usudzuje, že najlepšou zo skúmaných metód pre túto úlohu je upravená varianta metódy od Pavel et al. [14], predstavená v tejto práci.

American Ways of War and Strategic Culture: A Reflection in Domestic and Foreign Cinematography Katarína Kondrótová Abstract This thesis examines the portrayal of American strategic culture in movies from the USA and two countries with which the USA has been in conflict with - Vietnam and Afghanistan. The research focuses on comparing them with official US strategies and contrasting the different national portrayals among themselves. The aim is to discover how the USA and its way of war is depicted at home and abroad through movies - a popular medium with the power to shape perceptions. The research is anchored in the international relations theory of post-structuralism and the concepts of strategic culture and national ways of war. They serve as a lens through which the most popular war movies from each country are analyzed. The findings showed that American movies were more precise in depicting their real-life strategic approaches and tended to be more derogatory in their portrayal of their adversaries. They also showed a more critical depiction of US conduct in Vietnam compared to Afghanistan. When it comes to the foreign movies, Vietnamese films were more critical of the USA than Afghan films, but not as disdainful of the enemy as the USA. Afghan depictions exhibited the dual nature of their opinion of...

This diploma thesis deals with the process of creating an Audiovisual Act in the context of the transformation of audiovisual legislation in the Czech Republic after 1989. Although there was increasing pressure on change over time, as the original legislation did not reflect the epoch and was inadequate, this process lasted almost twenty years. The aim of the thesis is to understand the dynamics of the change in the process of creating audiovisual legislation, focusing on Act No. 496/2012 Coll. Next, identify the actors and factors that have had the greatest impact on policy change. To do so, this work uses and applies the theoretical framework of the Multiple Streams Framework, through which it sets the basic prerequisites for research. The methodological approach is a qualitative research and a research design of a single-case study. In terms of data collection, the text is based on six expert semi-structured interviews that form the base of primary research. Subsequent data are in the form of various documents, studies, press and annual reports, stenographies from the Chamber of Deputies, or, for example, the talk shows in which the process was discussed. Data analysis was conducted using thematic coding technique. Audiovisual legislation entered the political agenda in 2006, but it did not...

After the First World War, the Catholic Church intensified its interest in a world that was becoming ever more secular and began to look for new means of actively and creatively taking part in cultural affairs. Cinematography was one of the areas in which this trend became most apparent. It was shortly after the invention of cinematograph that various ideas and plans regarding how to deal with film began to emerge among Catholics. Consequently, the Pope gave his blessing to community-based initiatives and included them in his plan in the encyclical Vigilanti Cura. This study seeks to familiarise the reader with a multifarious mixture of interesting, and often contradictory, voices and opinions that were heard from Czech Catholics with regard to film. Catholic activities in the field of film are divided into three basic areas: production, classification and distribution, with the first area concerning the effort to make their own Catholic films. This study demonstrates the problems faced in this endeavour by presenting the difficulties in the making of the film Saint Wenceslas and the consequent relationship of Catholics to the completed work. The classification of films from the Catholic point of view was carried out systematically and in a coordinated manner. The study deals with the origins of...

El presente trabajo de investigación tiene como objetivo principal analizar cómo se construye la violencia en el cine del director Park Chan Wook como una crítica a la sociedad surcoreana contemporánea. Para lograr este objetivo, en primer lugar, se identificará el tratamiento cinematográfico de la violencia en la trilogía de la venganza del director surcoreano, que está conformada por: Sympathy For Mr. Vengeance (2002), Oldboy (2003) y Sympathy For Lady Vengeance (2005). En segundo lugar, se reconocerán las formas de la violencia de dichas películas en relación a las consecuencias del sistema capitalista de la sociedad surcoreana. En la introducción se plantea el estudio cuyo objetivo general es presentar el contexto en el que surge el director surcoreano y la trilogía de la venganza. En el marco teórico, se pretende realizar un recorrido por las formas en que el cine de ficción ha representado la violencia a través de la historia, este marco me permitirá contextualizar la propuesta de Park Chan Wook dentro de la evolución de la industria cinematográfica surcoreana. Asimismo, se profundizará el concepto de la violencia en general y cómo se representa en el cine; así como la relación entre la violencia y el capitalismo. En el capítulo de análisis, se utilizarán secuencias de cada película divididas en tres criterios en relación a la presencia de la violencia: revelación, acción y conclusión. Después, se ofrecerá un análisis audiovisual de cada secuencia ligado al contexto sociohistórico de Corea del Sur y las consecuencias del capitalismo contemporáneo que enfrenta esta sociedad. Finalmente, en las conclusiones se realizará una reflexión acerca de cómo Park Chan Wook logra crear una estética de la violencia particular de un mundo capitalista y la plasma mediante los recursos audiovisuales para crear una crítica a su propia sociedad. / The main objective of this research work is to analyze how violence is constructed in director Park Chan Wook's cinema as a critique of contemporary South Korean society. To achieve this objective, in the first place, the cinematographic treatment of violence will be identified in the South Korean director's revenge trilogy, which is made up of: Sympathy For Mr. Vengeance (2002), Oldboy (2003) and Sympathy For Lady Vengeance (2005). Second, the forms of violence in these films will be recognized in relation to the consequences of the capitalist system of South Korean society. The introduction presents the study whose general objective is to present the context in which the South Korean director and the revenge trilogy emerge. In the theoretical framework, it is intended to make a journey through the ways in which fiction cinema has represented violence throughout history, this framework will allow me to contextualize Park Chan Wook's proposal within the evolution of the South Korean film industry. Likewise, the concept of violence in general and how it is represented in cinema will be deepened; as well as the relationship between violence and capitalism. In the analysis chapter, sequences from each film will be used divided into three criteria in relation to the presence of violence: revelation, action and conclusion. Afterwards, an audiovisual analysis of each sequence linked to the socio-historical context of South Korea and the consequences of contemporary capitalism facing this society will be offered. Finally, in the conclusions there will be a reflection on how Park Chan Wook manages to create an aesthetic of the particular violence of a capitalist world and shapes it through audiovisual resources to create a critique of his own society. / Tesis

The topic of my diploma thesis is a comparison of speculation about a film from two perspectives. Firstly, it deals with the approach of Jan Mukařovský, a Czech structuralist, who was one of the first in the Czech context to explore the time concept in a film. Secondly, it considers the approach of Gillese Deleuze, who was accredited with the new view on the time-image in a film, however, much later than Jan Mukařovský. The aim of the paper is to explain the way the approaches of Mukařovský and Deluze relate to other approaches of thinking about time in films, the influence of other concepts of their time that they both theoretically based their views on, as well as specifying the films that became the starting points of exploring the time in films. The method of comparison is divided into three aspects, as three comparison levels.