Abstract "Nocturnal Butterfly" is short animation film which is directed by Raoul Servais. This animation is Servais's homage to Belgian surrealist Paul Delvaux. This paper concerns comparative analysis between the images of Nocturnal Butterfly about male and female, butterfly, mirror, railway station, automaton, last freeze-frame, and motifs of Delvaux's painting. At first, my research at overall characteristic of surrealism would show that Delvaux's painting shares such characteristic. André Breton who is a key man in surrealism believed that automatism is driving force for artistic creation, so he thought we must look into the unconscious and world of dream to create new aesthetic reality and to comprehend reality just as it is without prejudice caused by reason and rationality. Especially he tried for liberation of the consciousness through automatic drawing, collage and depaysement in surrealistic painting. Delvaux with Magritte used depaysement to give psychological shock to appreciator, so he used mythology as motifs to draw inner landscape unfamiliarly and mysteriously. And though idealized images of women he expressed own desire. After, I would review other works of Raoul Servais. He has expressed own view in various ways by using new approach for each work. Through criticism at human civilization and mythicism of desire he has utopian attitude even though he has criticized absurdity of actuality circumstance. Nocturnal Butterfly has atmosphere fascinating and mysterious but unfamiliar than clear messages. It seems that the atmosphere of the work considerably results from images taken from Delvaux's painting. And Nocturnal Butterfly shows ambiguous and unfamiliar feeling of surrealism using shooting mode of live action films and photographic images. Next, I would review images in Nocturnal Butterfly. Delvaux expressed idealized images of male and female as his central figure motives, but Raoul Servais expressed images of male and female as earthly images in Nocturnal Butterfly. Woman with movement in Nocturnal Butterfly is waiting someone and reacting to eyes from man rather than she is idealized being. But She is also mysterious being. She is dancing with another self appeared from mirror as her double, in fantastic and fascinating time. But when train in reality arrives and a man appears, the time is over. The man wearing a hat in Nocturnal Butterfly is like Delvaux?s self-image mixed with scientist and gentleman. The man watches the object of desire, and possesses the object. Delvaux?s painting as last scene in Nocturnal Butterfly seems to be index of photograph image displayed from both surrealism and movie. So it informs that this animation is not over but continues to a piece of reality. The result of analysis of the images in Nocturnal Butterfly shows that Nocturnal Butterfly is the most fascinating and mysterious new animation with weakened completion of narration unlike other works of Raoul Servais.

Indian Parallel Cinema is the mixture of Contemporary, Experimental and Art Cinema of India and always consist of low budget. Indian Cinema had started with its first silent film "Raja Harishchandra" in 1912. Indian cinema is often defined as Bollywood or Masala Films of India, since it is also the popular form with its ritual of song, dances and over-the-top melodrama. However, the 60s and early 70s were time of experimentation in the format of storytelling and form in Indian Cinema. Indian Parallel Cinema is a specific genre of Indian cinema which is known for its serious content, realism and naturalism, which reflected social and politics topics during those times. Indian parallel cinema represents a change of direction or a break with the traditional Indian cinema.

The submitted thesis is titled Representations of Femininity in Quentin Tarantino's Movies and it focuses on the process of femininity construction in six selected movies both written and directed by Quentin Tarantino. The aim of this study is to identify how Tarantino operates the notions of conventional femininity and traditional female gender roles. Furthermore, it investigates to what extent his films either support or subvert stereotypical gender identities. In relation to the research issues the key concepts are defined by the theoretical part of this work. In particular it describes the theory of social and media construction of reality, gender as construct, film as a part of patriarchal structure or feminist perspectives related to the film production. This same part also offers basic information about Quentin Tarantino's personality and his film works in general. In order to answer the research questions the thesis employs a qualitative method of critical discourse analysis which functions as a helpful tool while reconstructing the image of femininity set by media. Moreover, the selected method serves to reveal latent meanings applied by film as a form of media to affect both behavioural and cognitive individual characteristics. Keywords Femininity, gender, construct, stereotype,...

This paper, based on archival and period media research, tries to describe the relationship between the Electrical Enterprises of the City of Prague and the Czechoslovak avant-garde in the 1920's and 1930's. The Electrical Enterprises of the City of Prague helped to carry out several exceptional film and intermedia projects through their regular advertising contracts, including the film Praha v záři světel (Prague by Night, 1928), Zdeněk Pešánek's light-kinetic sculpture (1930) or the short experimental film Světlo proniká tmou (Light that Penetrates Darkness, 1931). There are also screenplays in the company archives which have never been realized but demonstrate much about the relationship between advertising and art in the interwar period. The author emphasizes the role of the public's general fascination with electrification, artificial light in the modern city and new forms in the collectively shared public space.

This doctoral thesis analyses several narrative categories on the sample of Czech fiction films of the last decade awarded by the Czech film academy for best film and best direction, on the sample of the most successful film in domestic distribution and on other three chosen films. It applies also the view on myth studies. The founded results are then compared with the classical Hollywood model.

This thesis focuses on practical application of intermedia perspective while comparing cinematographic work and literary work in the form of film screenplay.

This thesis discusses the similarities in coming-out depictions in contemporary European cinema focusing on teenage and coming-of-age queer male characters. While based on understanding the coming out as a sociological phenomenon with strereotypical development, it allows for deviations both in reality and in film. The thesis further aims to identify common elements in films with coming-out narratives: repetitive narrative techniques, themes, characters and motives. Using the analyses of three films, the thesis also examines the importance of coming-out stories in broader film narrative.

Theses "The Tin Drum - the character of a child as a symbol of revolution, rebellion and war in the film" explores development of a child's character in film. Also in films about the war and revolution. (Go and see ,The White Ribbon, Alice in Wonderland, Threesomes of morals, Long live the Republic, etc ...) The work primarily analyzes the character of Oscar (The Tin Drum) and compares literary text and the movie. At the same time, the thesis further elaborates on the issue of film adaptations of literary works and also raises question of author's own projection into the main character. Although the focus is primarily on analysis of literary and cinematic form of The Tin Drum, this text also mentiones other key frames, on which different ways of working with child actors are portrayed.

The work is attempting to describe the mental image of a dissident, the way it was most oftenly interpreted in the post Velvet revolution period films known to the public or regularly shown on the televion screens. For this purpose was chosen 53 films, which were devided according to their general interpretation and impression. I followed with an analyzation of the montage and bulding elements, that are used in these films, most oftenly shaping the opinion of the general public. The interpretations and contents of these films were compared to the results of the social-sientific research on the nature of normalization period and the dissent. Also these generally popular films were compared with the works standing outside of the mainstream documentary film, about the topic of dissent or previous regime in general. This theses is therefore refering to the problems of interpretation of the previous regime, normalization and the role of dissent in czech society.

Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century. Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether. The aim of this work is to analyze those historical cinema tendencies that bear most resemblance to the modern style of minimalism. I consider these films (and styles) to be the most predetermenative to the style of minimalism: Italian neorealism, spiritual work of Ozu and Bresson, experimental structural movies, the cinematic masterpiece Jean Dielman, 23 Commerce Quay, 1080 Brussels from Chantal Akerman and Antonionis movies with their narative structure.