The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.

in English Thesis will consist of three parts. In the first part, author will describe, based on chosen media sources (movie, television, theater, radio, CD, internet, social media), how is Božena Němcová presented. Furthermore, based on specialized literature, the author will create a profile of generation Z. In the second part, she will conduct questionnaire research amongst generation Z members, as well as pen and paper interview. Lastly, she will analyze and interpret results of previous parts and will try to answer the question: "How is Božena Němcová perceived by generation Z." Thesis includes a large annex available electronically.

The aim of this diploma thesis is to discuss film interpretations of major works in Czech literature. At first I discussed with the question of literary work rewritten into a movie, I introduced the basic terminology and analyzed in detail the various elements of literary text. I also mentioned the specifics of literary and cinematic expression, individual adaptation approaches and I briefly stopped by the theory of hot and cold media. The next part of my work is devoted to narrative technologies and the figure of the narrator. There I introduced different opinions of literary theorists on this question. For the practical part of my diploma thesis I chose the representatives of each adaptation approach and then I analyzed them in terms of the credibility of literary text and the figure of the narrator.

1 Abstract The thesis focuses on the involvement of Jiří Mařánek in the management of the Film Department of the Ministry of Information during the years 1945 - 1948. His ministe- rial engagement is related to the contemporary strengthening of the importance of literary preparation of the film and to the associated state dramaturgical supervision. Jiří Mařánek belongs to the circle of writers connected on one hand through their affiliation with the interwar avant-garde movements, on the other hand by their postwar involve- ment in the power apparatus that ended by the political and economic changes in the late forties and fifties. His professional fate speaks about the changes of cultural policy of the state, about the institutional development of the cinema and about the relations between literary and cinematic arts. It is a testimonial of what a successful professional career meant for a man of letters and what relationship it had to the cinema. We follow therefore a relatively brief but breakthrough episode of a writer and retired officer in the position of the Ministerial Counsellor, and we try to place its course and causes into a complex network of historical and social contexts and personal motivation. Focusing on this personality unburdened neither by a historical uniqueness, fundamental role of...