This thesis will examine film as a phenomenal aspect of reality. We will look at the idea of a ?film? as a cinematic apparition: as an object that both creates and reflects knowledge of the world and knowledge in the world. We will analyze cinema as a practical mechanism for constructing an understanding of our world: how we perceive it, how we interact with it, and how we reflect it. Finally, we will explore cinema as both a product and purveyor of consciousness.

From the very beginning, film announced its duality: the style of the documentary works of the film pioneers - the Lumi?re brothers, stood in opposition to the illusionistic experiments of Georges Méli?s. As film language developed, it became clear that film is a mimetic art in a sense that it possesses the quality of capturing reality itself, which was one of the reasons why so many people were obsessed by the silver screen. At the same time the audience was equally overwhelmed by the modification of the reality previously captured, into a deeper, less profane meaning. These subtile modifications (misrepresentations) of reality in film, are a prerequisite for conveying ideas that enrich the narrative and provoke the audience. Transcendence is immanent to film, and film authors base their personal style, their own credo, on experimenting, exploring, balancing within and appreciating this quality. A bundle of tools had been invented for this purpose, from composition of shapes to combination of colors, from narrative to editing techniques. A complete and precise list would be hard to deliver.

This thesis deals with the origin, evolution and standardization of the american screenplay and its form. Big portion of the thesis is then dedicated to specific analysis of each of the formal elements of the script, especially to explain and illustrate with examples its use in common screenwriting practice.

Kinematografie iráckeho Kurdistánu se objevuje jako rostoucí filmové hnutí od

This work is about animation film and his specific type - japan anime.

This work deals with the relation of emotions to contemporary experimental animation. It engages in the emotional experience of a viewer to non-narrative film storytelling and its means of expression. At the same time, it examines what the creative processes and attitudes of filmmakers towards emotions in experimental animation are. Analysis of the questionnaires also reveals whether the creator counts on the viewer's specific interpretation of the film.

The thesis combines two possibilites how to see cinematography which correspond with two features of every single film cut.

The aim of this thesis is to describe the visual phenomenon of home movies and their relation to the authorial subject. The subject of home movies is introduced in the first chapters and it deals with technology and its impact on amateur film work as well as the use of technical terms and academic reflection of home movies. The aspect of the authorial subject is viewed through the works of several personalities, who represent both typical and marginal attitudes to home movies production. One of these personalities is Ludvík Šváb whose private and experimental films proved to be a source of friction, which enabled me to track down and define the genre of home movies and realize that it does not have to be viewed solely within the amateur discourse. The method of creative recycling and reinterpretation of home movies by a filmmaker Martin Ježek offers almost a transcendental perspective. The paper also presents an analysis of the means of expression in the home movies and their use within given model authorial subjects.

Michael Haneke´s The White Ribbon, Bertrand Bonello´s L´Apollonide, The Girl with a Pearl earring by Peter Webber or The Silence of Joan by Philippe Ramos are European arthouse films, which could be seen as films based on history or historical events. In compare with mainstream films all these authors draws inspiration from changes in historiography in last fifty years to make their fictional worlds more credible. Except of concrete descriptions of their methods the thesis includes also the reflection of the audience perception of films based on historical events or the willingness of the audience to believe the presented image of history.

Thesis The Mockumentary is dedicated to the issues of questioning credibility of audio and video messages broadcasted through audiovisual media. Mockuments are trying, through the methods of documentary and fictitous content, to uncover manipulative approach of audiovisual products and they are often mocking documentary itself. The represantation of reality is the most important common issue of the documentary and the mockumentary. Mockuments are questioning the credibility of archival materials as the source of truth about past or any materials which try to act as unprejudiced evidence of the reality. For the appreciatation of the mockument is necessary to have a spectator acquanted with historical, cultural and political context of the piece, the spectator which is capable to uncover its hidden content more tightly allied with the reality than with the fiction.