The thesis "Comparative Analysis of Pictorial coverage of the Olympic games in London 2012 in chosen printed media and internet media" deals with photographs published in MF DNES and on the Aktuálně.cz news server. The main focus is comparison of the photographs in the means of content, quantity and quality and to elucidate function of photo editors in media. In the first part the theoretical background necessary to understand this issue is presented - news values, gatekeeping, photography, photojournalism and mainly sport photography, photojournalism and ethics, difference between print and online media. The second part is the analysis. All the necessary information was gained using three approaches - quantitative content analysis, qualitative pictorial analysis and interviews with professionals. The quantitative analysis determines quantity and content of given photographs. The qualitative analysis refines the information regarding visual quality and content of the images. Interviews with employees of the selected media companies provide answers about choosing and editing the published photographs and explain the role of a gatekeeper. The thesis also verifies hypothesis that "online media prefer speed of publication over quality of photographs while printed newspapers prefer quality".

The diploma thesis called Visual Style of the National Geographic Magazine (1914, 1964, 2014) is focused on the visual part of this American monthly magazine, that is renowned for its long-standing photography tradition. In the theoretical part the historic development of the National Geographic monthly magazine is summarized, characteristic features of its photographs are defined and compared to the different photographic genres. With relation to the magazine, issues of visual gatekeeping are discussed. The theoretical part is accompanied by examples of published photo manipulations and a chapter about the image-text relation is provided. The analytical part aims at the development of photographic techniques and photographic content in the selected years 1914, 1964 and 2014. Using the method of content analysis this work deals with over 1000 photographs and allocates them in different coding categories. It is explored which category or characteristic features were typical for each period, for example in connection with gender, locations or the way of capturing the image. The results of content analysis are put into context by semiotic study which is based on the methods of philosopher Roland Barthes. In addition to that, the analytical part is supplemented with the analysis of selected visual...

This master's thesis focuses on visual communication of Karlovy Vary International Film Festival using social network - Instagram. The festival uses this network to communicate with spectators, which helps it create its identity and build a fan base. Theoretical part of the master's thesis describes history of Instagram as well as all the functions of this popular application. It also talks about Karlovy Vary International Film Festival and other international film festivals and their use of Instagram. The theoretical part concludes with definition of visual communication, focusing mostly on specifics of analogue, digital, and Internet photography. Using quantitative content analysis of Instagram pictures and semiotic analysis of technical and content elements, the thesis analyzes what visual style of communication the festival uses, and how the fans and media understand and transform the content. For the research purposes, the festival's Instargam profile as well as selected media and spectators' profiles were followed. The purpose of the thesis is to describe what visual language the festival organizers use on Instagram and how this language is reflected in building the identity of the festival itself.

This thesis analyzes news photographs related to the Old Town Square and its task is to explore the role of a place in a city and how it determines the myths in visual messages. The theoretical part focuses on the context of semiotics and news photographs and describes the possibilities in interpreting meanings of visual communication. In relation to photographic messages, it also reflects the analytical background at the level of myth, based on the work of Roland Barthes. Theoretical part also takes in account the symbolic and historical values of the Old Town Square. The analysis itself is based on a sample of 20 randomly selected photographs present in MF Dnes and Blesk, which cover events taking place in the Old Town Square between 1993 and 2013. Using comparative semiotic analysis it focuses on the visual content of news photographs in these journals, while observing how the Old Town Square takes part in the connotative chains and resulting myths.

The master thesis Bedřich Kocek and Czech Press Photography is concerned with the life and work of Bedřich Kocek - Czech photojournalist who worked in the renowned journal Svět v obrazech (translated as World in Pictures) for over thirty years. The theoretical part specifies the genre of journalistic photography and its development from the turn of the 19th and 20th centuries to the 1980s. Furthermore, the development of the journal Svět v obrazech serves as an example for outlining the media and political context in Czechoslovakia since the end of World War II, when the periodical was established, until the 1980s, when Bedřich Kocek left the profession of a photojournalist. An especially valuable and vital part of the thesis is a chapter about the life of Bedřich Kocek, which has not been previously researched and described in detail. That section is based on personal interviews with the photographer using the oral history method. Moreover, the thesis explores the photographic work of Bedřich Kocek through the use of compositional analysis as well as the characteristic features of his pictures, which were part of the reports produced for Svět v obrazech.

Der Begriff des »Fake« meint eine mimetische Nachahmung eines anderen Kunstwerks, die im Gegensatz zur Fälschung selbst auf ihren gefälschten Charakter hinweist. Eine Künstlerin reproduzierte Fotografien von Walker Evans; diese eigenen Fotografien präsentierte sie auf ähnliche Weise wie das Vorbild; der Titel, »Sherrie Levine After Walker Evans«, weist die Arbeit als Aneignung aus, die die gewandelten kontextuellen und konzeptuellen Bedingungen des identischen Bilds reflektiert. Das Fake zielt demnach mittels einer genauen Bilduntersuchung auf einen kunsthistorischen Erkenntnisprozeß: Die Reproduktion wird nicht mehr moralisch als Fälschung verurteilt, sondern das Fake wird als Kritik der Institution der Kunst und ihrer Ideologie des Originals betrachtet. Das erste Kapitel widmet sich den neuen künstlerischen Strategien zu Anfang der 1970er Jahre und diskursanalytisch der historischen Fälschungsliteratur, dem Verhältnis von Original und Fälschung, um in Abgrenzung davon den Begriff »Fake« einzuführen. Im zweiten Kapitel werden sieben ausgewählte Beispiele von Fakes auf ihre konzeptuelle Formation hin untersucht. Im letzten Kapitel werden die weitreichenden Konsequenzen dargelegt, die das Fake für die Bild- und Kunsttheorie im Verhältnis zu gesellschaftlichen Entwicklungen bedeutet. / The concept of Fake describes a mimetic imitation of another work of art which, in contrast to forgery, hints at its faked nature. A female artist reproduced photographs by Walker Evans and presented these photographs like the original; the title, "Sherrie Levine After Walker Evans" identifies the work as an appropriation which reflects the contextually and conceptually changed conditions of the identical image. Accordingly, the fake aims at an art historical cognitive process by means of an exact examination of the respective artwork: The reproduction is no longer morally condemned as forgery, but the fake is regarded as criticism of the institution of art and its ideology of the orginal. The first chapter deals with the new artistic strategies at the beginning of the 1970s and, in a discursive analysis, the historical literature of Fake as well as with the relation of orginal and forgery in distinction to the concept of "Fake". In the second chapter seven examples of Fake are examined for their conceptual formation. The third and last chapter is a description of the far reaching consequences of Fake for image and art theory in relation to social developments.

Meine Dissertation stellt den 1945 geborenen britischen Künstler Richard Long nicht nur in den Kontext der Land Art, der Minimal und der Concept Art, sondern zeigt dar-über hinaus Parallelen zur Tradition der englischen Landschaftsgärten und der Land-schaftsmalerei des 18. Jahrhunderts auf. Im Anschluß an eine detaillierte Kategorisie-rung und Analyse der von ihm verwendeten Medien (Photographien, Skulpturen, Kar-tenarbeiten, Textarbeiten) und Materialien (Stein, Holz, Erde/Schlamm, Wasser, Wind) steht Longs Auseinandersetzung mit rahmenden Blicken, mit der Bewegung durch die Natur, mit dem Aufsuchen geschichtsträchtiger Orte und mit Landschaftsphysiognomie, mit der Erfahrung von Raum, Zeit und Natur im Mittelpunkt. Zu Longs Leitgedanken gehört das Moment der Transformation. Long wandelt Natur in Kunst; er stellt Naturmaterialien dahingehend neu zusammen, daß sie durch Anordnung zum Kunstwerk werden. Er thematisiert die Umwandlung von Dingen und von Aggregatzuständen sowie den Wandel der Zeit (Jahreswechsel, aber auch den Tem-powechsel der eigenen Bewegung). Darüber hinaus ist seine eigene Körperbewegung wesentliche Voraussetzung für die skulpturalen Arbeiten, seine Bewegung wird zum Werk. Die Wechselwirkung von persönlichem Empfinden und Natur prägt Longs Werk. Natürliche Gegebenheiten veranlassen ihn zur Erschaffung von Skulpturen oder er ex-pliziert seine Sinneswahrnehmungen auf Wanderungen in Wort-Bildern. / In my PhD.-thesis, the oeuvre of the British artist Richard Long (born 1945) is dealt with in the context of Land Art, Minimal Art and Concept Art. Additionally, the tradition of eighteenth-century landscape gardens and landscape painting is discovered as another important influence on his artistic work. After giving a detailed analysis of Long’s artistic media (photography, sculpture, maps, textworks, film) and materials (stone, wood, turf, mud, water, wind), the study concentrates on the artist’s working methods based on his personal experience of space, time and nature. Moving through nature or visiting historic sites, Long not only discovers framed vistas in his surround-ings, but also gets involved with nature’s "physiognomy". Transformation is Long’s main topic: he changes nature into art, his arrangements transforming natural materials into works of art. These visualize the transformation of things or physical states as well as the change of time (e. g. the change of speed of his own movement or astronomical events such as the turn of the year). Generally, the movement of Long’s own body is turned into sculpture when he expresses either the characteristics of certain places or his perceptions during his walks by sculpture or textworks.

Main goal of this document is to rate photographs in promotional materials of the tourism regions of the Czech republic. Other goal of this document is to show if graphical form of promotional materials influences decision making of visitors of any particular region.The theoretical part describes short history of photography, promotion and tourism in the Czech Republic. The practical part consist of researching photographs in selected promotional materials of the tourism regions according to picked criteria. The second practical part is focused on testing of influence of photographs on participants of tourism.

The theoretical part focuses on the theme of the book - letter print - from the technical point of view. Further it explores the history, origin and various forms of a book. The thesis includes also chapters about a copyright book and the term " bibliophile". It also gives brief information about the graphic art, especially the technique of gravure. In the last part it aims at two personalities of Czech culture - a painter and graphic artist Jiří John and Jan Skácel. The practical part of the thesis is conceived as a folder that includes series of graphics accompanied with poetic texts. The graphic works are made by dry needle. The texts are written by Jan Skácel. The topic of the the copyright book expresses the author´s memories of her grandmother. The topics of each graphic work depicts the psychology of the contrast between the oldness and the youth and at the same time of the loss of a close person. The practical part should be also a sort of bibliophile.

Im September 2012 hat das Archiv der Fotografen in der Deutschen Fotothek seine Tätigkeit aufgenommen. Die Deutsche Fotothek in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden übernimmt damit Verantwortung für die Erhaltung und Präsentation fotografischer Werke und Nachlässe als Teil unseres visuellen Erbes. Die Deutsche Fotothek ist Ansprechpartner für Fotografen und ihre Nachfahren, für Institutionen und Museen, für die Wissenschaft und alle Bilder- Suchende. Sie bewahrt und aktiviert Fotografenarchive oder vermittelt diese in Kooperation mit weiteren fotografischen Institutionen an geeignete Standorte. Das virtuelle Archiv der Fotografen macht die Lebenswerke bedeutender deutscher oder in Deutschland arbeitender Fotografen anschaulich sichtbar und trägt zur Vermittlung der Vielfalt und Bedeutung deutscher Fotografie bei.