Tato práce bude zkoumat rozmanitost filmové postavy zvané "femme fatale", od jejího vzniku na počátku filmu noir přes její vývoj v současné kinematografii. Budu sledovat její vyhled napříč časového horizontu osmdesáti let, odhalím rozmanitost jejích fyzických projevů, jakož i různých taktik používaných ve svém nepřetržitém boji proti mužům. Udělám to na základě analýzy jednoho prototypu femme fatale a následně dalších šest ženských postav, z nichž všichni byli kritiky nazváni "femme fatale", nebo "ďáblovy ženy" v rámci různých filmových žánrů. Tyto postavy jsou LOLA-LOLA z roku 1930 z německého filmu Blue Angel jako typická femme fatale; BABY DOLL z roku 1956 z americké černé komedie stejného jména; VARLA z roku 1965 z amerického filmu Faster, Pussycat! Kill! Kill!; ANNIE WILKES z roku 1990 v americkém thrilleru / hororu Misery; LOLITA z roku 1997 z francouzsko-amerického melodramatu stejného jména; VERA z roku 2007 z ruského dramatu Banishment a LISBETH SALANDE-

The aim of this work was to try to look at the fertile period of the Italian cinema of the sixties a different perspective - through the genre of comedy Italian style. Focus on those who formed parallel to the greats, and who, often deservedly, disappearing into the shadows. Nevertheless, among the smaller ones can find authors stylish and expressive works. The fact that I finally got to the territory of the greats is nothing surprising genre of comedy Italian style is so broad that it can fit so many things and often handles the same topics as they only told in a lighter vein. Try to purely Italian in context trace its specificity, and create an outline for better orientation in the territory where lions still live.

This diploma thesis is a follow-up to my bachelor thesis, which studied the works of director David Fincher in the period framed by the existence of a production company Propaganda Films, and also by a common standard of shooting feature films on film stock. The new millennium then brought an end to the production company and also, at least for Fincher, the end of working with film material. Based on the analysis of one significant scene of each film that Fincher made in the "digital era", I will try to describe what film language is used when the scene is narrated, what precedes and what follows, the role of the actors and script, what style brings camera work and editing. And finally what constitutes a stylistic specificity of David Fincher's narrative.

This master thesis deals with the problematic position of the Czech puppet animator. Based on interviews with two puppet animators, representing the current puppet animation and the last century Golden era, I am trying to figure out how the puppet animator worked in the last century and how he works today. For the current generation I draw from the experience of puppet animator Jan Štencl. For the past generation I draw from the experience of Mr. Jan Klos. I'm trying to clarify what puppet animator has had to know and if these kind of skills varies according to the period in which the animator works/worked. Furthermore, this theoretical work deals with the problems that animators are facing today and how to puppet animators respond to the expansion of 3D technology. In conclusion, I outline the various solutions to the current situation.

Narrative gaps are dramaturgical problems which disturb the viewers? perception of the storyline and the fictional world of a film. The text analyses specific narrative gaps on the example of the most popular Czech films produced between 2000?2010. This work explores the question of the popularity of these films despite their narrative problems. In searching for the answer it tries to see the problem from the perspective of the audience as well as the filmmakers. From the perspective of cognitive film theories, it describes the auto-compensation processes applied by the viewers. It also describes the mechanisms of attraction which are used by filmmakers to cover up the narrative gaps.

Pro mne, jako pro budoucí scénáristku, jsou předmětem zájmu především sociální, kulturní a psychologické aspekty, které ovlivňují vývoj filmové postavy. Tato práce se zaměřuje na zobrazování ženy, zejména matky, v makedonské kinematografii. Ženské postavy nejsou dostatečně využívané, ani kvalitně portrétované, a je to jeden z hlavních nedostatků v makedonském filmu. Z tohoto úhlu pohledu zkoumá diplomová práce skutečnost a autenticitu prezentace žen v makedonské kinematografii, s užším zaměřením na zobrazování postav matek. Jako příkladu používá protagonistek ze tří makedonských filmů, které byli ovlivněni, a zároveň i sami ovlivnili makedonské kulturní povědomí. Jsou to filmy: Frosina (1952), režie Vojislav Nanović, Ženata što gi izbriša solzite, (Žena, která si otřela slzy) (2012), režie Teona Strugar Mitevska, a Matky (2010), režie Milčo Mančevski. Tato práce mimo jiné zkoumá jak ženské protagonistky v těchto filmech odpovídají skutečnému a ideálnímu modelu tradiční kultury, jak jsou v budování těchto postav využity prvky pocházející z rozporu Východu a Západu, a jak tyto postavy zapadají do Jungova popisu archetypu matky.

In this theoretical thesis I want to explore the interaction of theater and film. I do not want to be preoccupied with "filmed theater", but only with film adaptations of theatrical productions. Dramatic works became really often template for films, but what leads the creators of the movie to film the specific theatrical productions? How will the filmmakers be affected by existing artwork, and which path to take when theater and film have so many different ways of expression? What has the movie theater to offer, and what the film is able to borrow, take, or transform? And in this case,are there any rules?

In my Master's thesis I will focus on new possibilities of distribution of low-budget films by producer in The Czech Republic. The work is patterned on the current situation where more and more domestic films are distributed by its producer. In addition, a number of smaller Czech films are distributed by classical distributors. The thesis will try to outline the context of the development of independent distribution in the United States with the situation on the European market, respectively on the Czech one. I will try to describe the current situation on the film market, methods of treatment of film distribution and their advantages and disadvantages. The core of my work will be devising new methods of film distribution of low-budget films in connection with the setting of marketing and distribution strategies .

This thesis presents an analysis of the film "Malý Pán" ("The Little Man") directed by Radek Beran. The analysis mostly focuses on the technology used - theatrical puppet in a film. It examines the literary model "Velká cesta Malého pána" ("The Little Man's Great Journey") by Jiří Stach and Lenka Uhlířová, its adaptation into a film screenplay, the screenplay itself, acting of puppets, visible controlling mechanism and finally the visual processing of puppets, animation and overall mise en scene. Alongside with the analysis, several general rules for the use of theatrical puppet in films are defined and illustrated on examples from the "Malý Pán" movie.

Korean cinematography gained liberty after the military regime, but the situation depends on political situation. The growth of Korean cinematography shows influences of the policies by every korean government. Thanks to the world-wide success of Korean films, korean viewers perceive how the conservative government tries to control the film industry, and they know how to react to it. For example, the film 26 years (2012) - it was not possible to be shot because of the interruption by the conservative government. Because this film contains massacre in 1980 in the city Kwangju by the dictator, and the dictator is still alive. However future viewers of the film supported it, and the production invited subscriptions to a fund. Finally the film was finished in 2012, and distributed to cinemas all around south Korea. However korean animation is out of viewer's concern, even though it has been the biggest scapegoat by policies of Korean government. Every conservative government have used korean comics as a scapegoat whenever they reached problems. When there were serious criminals of youth or criminals against children, korean government strengthened censorships about comics. Some comics were banned, and authors of these comics could not work on their comics. It happened in 1997, and has began again in 2012.