This thesis describes the origins of film-noir genre, historical context of classic noir era as well as the influence of its film predecessors, emphasising the tradition of german expressionism. Each single aspect creating the characteristic film-noir look is analysed and described in detail, and illustrated using film stills containing such aspect. Following text summarises reasons and circumstances of the end of this classic era. The second part of my thesis is dedicated to the utilization of this noir aspects in later films all the way up to the present times. This part is also supplemented with practical examples of these elemets being used.

The theme of this diploma thesis is perception of time within the audiovisual work. Particular attention is paid to the audio component of the audiovisual work, from which perspective is seen the phenomenon of time. First there is briefly introduced understanding of time evolved within the philosophical context. The next part presents film as a medium that, from its formal nature, brings new impetus that further develops the thinking of time. After this introduction work focuses on the way of perceiving time within the sound itself, respectively in music composition. It is based on the findings of psychoacoustics and, above all, on the theoretical considerations of French composer Gérard Grisey, to which is trying to find parallels in the context of the sound dramaturgy of the film work. The last part deals with time relations arising from the relationship between film image and sound. It is trying to question and then generalize specific formal relationships within the audiovisual work, influencing the subjective perception of time.

Masters diploma thesis The Mary Sue Principle or How Not To Create A Too Perfect Character is focused on the literary phenomenon of fan literary work – fan fiction – and its specific genre, Mary Sue. For this genre are typical almost ridiculously/absurd perfect characters, which attract all of the attention to themselves and often have excessive superpowers on their disposal. The theoretical part of the thesis outlines the reasons for the creation of Mary Sue and explain specifics of this phenomenon. Moreover, it describes describe dramaturgic rules, which are supposed to help authors to create a character. The analytic part of the thesis then analyzes three movie and TV series characters – Jon Snow from Game of Thrones, Ray from Star Wars: The Force Awakens and Grace from Peaky Blinders – which can be used to demonstrate components of a Mary Sue type of character. The goal of this thesis is to propose the use of the Mary Sue principle as a dramaturgic tool for character building.

The main topic of this diploma thesis is the form and content of jungian shadow archetype in contemporary western cinema. In the first chapters it introduces the basic concepts of analytical psychology, which will be used as the principal method for analysis of the selected films (Fight Club, Game, Black Swan, Fisher King). The key concept is that in the core of each story are hidden archetypal contents. According to jungians these are the main force behind emotional response of audience. In films they can be portrayed either directly ? by personification into a film characters whose numinosity is supported by film language ? or indirectly ? by narrative elements and character's functions. The thesis concentrates on both options and analyzes formal means which express psychic nature of the selected film's elements. It defines three phases of ego-shadow relationship which are vaguely similar to three acts structure. It examines shadow archetype's function in the story and in human psychology as well. The results are put into context of jungian concepts. Rather than creating a complex system, the thesis outlines another option how to think about film and film language, which is deeply rooted in human psychology.

This work is about works of art which imitate chaos in terms of their structure. The focus of this work is POETICS OF CHAOS, in other words: specific techniques used to construct artificial chaos. The poetics of chaos is also explored through narration, the grotesque anti-myth about Eris, the Goddess of Chaos, and Paris, the prince of Troy, and his horrifying masturbation phantasy. The main field of this work is literature and film, but music and painting are also explored. The analysis of SPAS (a novel by Ivan Matousek) and ASTHENIC SYNDROME (a film by Kira Muratova) are included, because the structure of these masterpieces is brilliantly chaotic.

The thesis Man as a Being in Extreme Situations. Methods of Stylized Authenticity in Contemporary Author Cinema analyzes five contemporary author films that show signs of realism, authenticity and create a documentary feel. It focuses on means and methods of creating the feeling of authenticity in the mentioned movies. It also focuses on characters in these films. All the characters in the context of the movies find themselves in extreme life situations that do not allow them much choice.

In this thesis I explore more deeply the topic from my bachelor diploma thesis ?Archiving Family Film?. Through an analysis of family film from the thirties to the present day, I want to draw attention to this distinctive form of amateur filmmaking which is overlooked today. Above all I want to focus on the filmmakers Peter Forgács and Jan Šikl. I explore their different approaches and points of view, and their use of archive family footage in their documentary works ?Private Hungary? and ?Private Century?. By comparing films from these documentary cycles, I point out what makes the works of these two directors unique. I also elaborate on my work with family archive footage in my film ?Sestření? (?Sistering? - 2nd year exercise ? authorial portrait), and I reflect on the approach that I adopted when shooting my bachelor?s diploma film, ?Roots of Relationship or How Granddaughter and Grandmother couldn?t get the Turnip out.? I explain my use of methods taken from family footage in my work as a documentary filmmaker, and discuss my personal experience and achievements in this field.

The main goal of this thesis is to describe the unofficial genre of films without speech and to analyze principles of the use of sound and film language in such films. Initial chapters speak generally about the phenomenon of feature nonverbal cinema with the focus on its historical development and general film language. The middle part presents, and briefly describes chosen films without speech, and suggests their sorting into sub-genres. The last, vastest part of the work, is an analytic study of various approaches to reduce speech generally throughout film. This part leads into the final theoretical description of soundtrack in films without speech.

In my thesis I compare various trans* representations in fiction films, documentary films, TV series and video journals on the internet. I assume, that projections of trans* people differ in stories they tell, depending on media in which they are constructed. Most of the visible trans* stories in media are "being reborn to the right body testimonies (in opposition to the wrong body given at birth)". This is connected to the legislative rules one must follow if he/she wants to have his/her gender reassigned. Trans* activists in global context take steps closer to legislative changes that lead to bigger tolerance and freedom of gender expression. In analysis of characters of seven fiction films, three TV series, four documentaries, one reality show and work of three trans* video bloggers, I demonstrate, that the representation of trans* identities in mainstream media space is reductive and works within strict rules. These rules relate to pathological default setting of the trans* status. On the other hand, the more authentic the material is, the wider variety of stories we see..

Abstract This thesis deals with an audio-visual interpretation of a musical work. It is an extensive issue because audio-visualisation of music accumulates in itself a range of art disciplines and it works with their resources. The general idea of a development line is captured in the general part of the thesis which is dedicated to music and dance and film as its transformations. The second part of the thesis presents the basic forms of such adaptations and some film music genres with theirs specific features and there are also described some typical and unusual authors' procedures and the functionality of their approach is evaluated from a viewer's-listener's side. The theoretical support for the conclusions presented in the thesis are drawn from available resources and domestic and foreign scientific literature. The conclusions of a general assessment of possibilities and difficulties of audio-visual interpretation are based primarily on the analysis and comparison of musical and visual components in the selected audio-visual works.