The thesis focuses on various aspects of the origin of assassination. Using the depiction in feature films as examples it analyzes the diversity of approach in stylization and in authenticity.

During my directing mentorship I have come to understand how to work in collaboration with most of the different facets of filmmaking that contribute to making successful films. With practical analysis of major films and filmmakers of our history and with the instillment of visual theory, it is clear that filmmaking is never as easy as it looks. My aim is to enlighten some techniques used by the old and new in different variations. My take is directed specifically on how to work with actors. Through exercises, situations, techniques and practical examples, I attempt, with this study, to help developing directors understand the individual variations of working with actors and non-actors. The path of a director is one of countless obstacles, but with intuition and a developed technique the director can be prepared for the unexpected.

Along the first decade of the 21st century, Romanian Cinema has achieved an elite status with the emerge of the so-called Romanian New Wave or New Romanian Cinema. This dissertation, aims to explore a little bit beyond the obvious aesthetics and dramatic features that have conferred awards and prestige to this film movement.Through three of its emblematic films, the use and representation of the human body will be analyzed as a powerful and effective storytelling tool, capable of rendering a coherent socio-political discourse at the same time it harmonically engages with a depurate visual style. The New Romanian Cinema deals with themes like identity and structures of power, and this thesis seeks to expose how those concepts are articulated through an specific depicting of the corporality -and its affections- of the main characters, highlighting the way directors use their craft in consonance with such representation instances

The film industry has been recently undergoing a significant technological change, which has made the traditional film strip an obsolete medium. The thesis called "Eschatology of the Film Strip" tries to define the basic differences between the photochemical and the electronical tradition of the moving image, and critically asses the transformation of the market. The thesis draws attention to many paradoxes caused by the pressured implementation of digital technologies, and argues for the classical photochemical film as a creative tool in it's own terms, able to find it's habitat in the context of fine arts. The author reflects upon the possibilities of new uses for the film strip and introduces the research project Kinoaparat.cz, focused on enlightenment in the field of traditional film art and technology.

The social inteligence, cognitive agility and universally education of a concrete spectator can be the most important aspect, which has an influence on his final evaluation and process of perception. The strong uncompatibility between the type of spectator´s perception and structure of a movie is often source of desorientation and rejection, especially in case of modernist cinema.

Tato práce si klade za cíl popsat a prokázat nevyhnutelnou existenci patosu v makedonské kinematografii, jako esenciální prostředek filmové řeči a způsobů narace. Práce se pokouší ilustrovat a ospravedlnit přítomnost patosu ve více než 90% makedonské filmové produkce, coby důsledku poválečné politické historie a zakořeněnosti pocitu podřízenosti balkánské populace, která sama sebe vnímá jako obět útlaku "ostatních" národů. Tento cíl práce naplňuje zkoumáním makedonské historie od počátku kinematografie do současnosti a dále analýzou deseti hraných filmů z různých dekád národní kinematografie, s ohledem na užití patosu a jeho nezbytnost.

Diploma thesis Edvard Beneš as character in postwar cinema deals with specific issue in relationship between feature film and history. It is focused on the development of knowledge in historiography of science and gradually recognition of the film as a historical source. President of Czechoslovakia Edvard Beneš was chosen as a laboratory sample for my research. The work looks into Beneš's image from the first normalization movies by Otakar Vávra till contemporary TV series České století. The work is also trying to reflect my own experience with editing process of historical drama.

Thesis analyzes the current international competition of animated films Anifilm 2015. The aim of this study is to describe the fundamental nature of the animation. Identify rules and artistic means used in the films. The focus of the thesis is to the potential elimination or possible elimination of film defects by manipulating the individual images or scenes. The work is divided into two main parts. The first describes theoretical and schematic knowledge of the animated film focusing on dramaturgy and editing. In doing so, it identifies artistic tools that are at the heart of matter animation. Mentioned are also differences in approaches to short and feature animated films. The practical part consists of a set of analyzes of short and feature-length animated films in competition Anifilm 2015 with regard to the places and scenes in the film that contribute to unclear testify or otherwise distorts theme of the film. Thesis does not omit cinematographic works with clear and precise nature.

ABSTRACT The main topic of this diploma thesis is the analysis of the ways old-age and its attributes are represented in current Czech cinema when compared to newest sociological data on Czech seniors. The work attempts to find out whether the way seniors are presented in films corresponds to reality and if not, what are the reasons behind it. It also addresses topics such as the specific traits of the current generation of Czech seniors, their economic, social and family situation and the way these are reflected in Czech films. The thesis also looks at more general topics such as old age and gender, loneliness or freedom and last but not least analyzes the methods that filmmakers used to portray the themes of memory and reminiscing in their films.

This master thesis deals with travel documentaries. It presents the genre's basic definitions and briefly describes its history from the beginning of cinematography up to now, with a special focus on current Czech and foreign TV series. Filming and post-production dramaturgical rules and production limits are described in the case study of television series Na cestě, and their resulting impact on the show's traits is analyzed. The outcomes of television rating and viewer satisfaction measurements are also dealt with; moreover, based on the available data, a viewer profile is outlined, attempting to deduce what his visions and expectations are. As a contrast with TV production, the paper includes two creative documentaries, which characteristics also fit the travel genre: Notebook from China, by Danish director Jorgen Leth, and Šimon Špidla's Into Oblivion. The study compares their style and ways of narration, draws a comparison with series' features, and aims to answer whether or not the conditions of TV series production enable creative travel filmmaking.