The use of writers room in making of Czech television series, is the

The aim of this master thesis is to describe and evaluate the role of incoming foreign productions entering the Czech film industry after 1989. The foreign film productions tend to affect the Czech film culture in a broader context. Specifically, changes occured in governmental support of both Czech and foreign production. The film industry is not kept away from the intensifying conditions on world markets. In the recent years, this factor is leading to a greater competition in terms of attracting foreign productions to domestic locations by the system of fiscal incentives. Having these in mind, this thesis outlines until which range are the foreign productions beneficial for the state, as well as it proposes the possible manner of the Czech republic promotion abroad.

This thesis deals with the retribution judicature within Czech cinematography in the years 1945-1948. Right after the Second World War, revolutionary denazification commission came into being on the level of companies and union boards. Almost 270 workers from all areas of cinematography underwent the process of the Disciplinary Board of the Union of Czech film workers, including cinema usherettes or directors of film companies. The cases were not judged on any legal basis, but rather under the supervision of a new cinematography leadership. For many of the workers it ended in being forced to leave the industry. Some of the cases were included into the proceedings of the Great Retribution Decree or the Small Retribution Decree. According to the Extraordinary People's Courts and the Penalty Finding Commissions the people were likely to end up in prison or with a fine, or for the worst case there was a possibility of the death sentence. Eventhough an extensive number of cinematography workers stood in front of these courts the conclusions had not such a big influence on the future of Czech film industry as it was in the case of the Disciplinary Board. Despite of this fact, the revolutionary and the offical branches of retribution are often mixed up. The aim of this thesis is to make a distinction and...

This diploma thesis - The image of Italian films in Czechoslovak film journals in years 1965- 1975 is devoted to the manner of display, presentation and evaluation of Italian cinematography in the magazines Kino and Film a doba. The first part of this work describes the social and political environment in Czechoslovakia and in Italy, with an emphasis on culture, film and print media. The attention is focused on the end of the 1960's, when in Czechoslovakia the totalitarian political development was strengthened after an effort to democratize society, whilst in Italy the democratic development of the capitalist society was maintained, despite the pressures of the left-wing forces. The analytical part of the thesis uses qualitative methods and examines the contents of articles in the chosen periodicals. It follows the arguments of film publicists and critics and reveals how the social atmosphere and movements was portrayed by Italian filmmakers. The work focuses on analyzing the articles about Italian movies of different genres and styles, to which film themes was given more space, how was reviewed the work of filmmakers and actors and how was characterized the Italian cinema in general. The conclusion of the thesis summarizes the results of the analysis in the context of the political situation in...

This thesis will be focused on the analysis of the basic types of the female artificial movie characters - the beings connecting "femininity" (humanity) and technology. These characters holds the external female sexual signs or the characteristics stereotypically perceived as female (e.g. cyborg/cyborg woman, android woman, robotess). My issue will be examinated from the perspective of postmodern approach to the process of shaping their bodies and identities in relation to the narrative movie structure. The characters will be divided into categories based on their dominating physical and "social" function in the story. The subsequent identification and interpretation of physicality, identity and relations with other characters of the narrative will be based not only on principles of semiotic analysis, but will take into account especially the approach of postmodernism. The main theoretical basis for this paper will be the theory of poststructuralism and so called post theories - a theory of posthumanism, transhumanism and cyberfeminism.

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...

This thesis deals with civil society organizations in the field of cinema in the Czech Republic. Cinematography is part of art and industry, with further influences of technology, culture, social or political situation. As in other areas there creates also civil society in the field of cinematography. The aim of this work is to determine the reasons are civil society organization formed and how they function. Due to the broad approach of the target group the research project work was targeted at those organizations that contribute to the development, support and promotion of Czech cinematography in general, and are the major players with the conceptual and strategic influence to the whole area.

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...

1 Abstract The thesis focuses on the involvement of Jiří Mařánek in the management of the Film Department of the Ministry of Information during the years 1945 - 1948. His ministe- rial engagement is related to the contemporary strengthening of the importance of literary preparation of the film and to the associated state dramaturgical supervision. Jiří Mařánek belongs to the circle of writers connected on one hand through their affiliation with the interwar avant-garde movements, on the other hand by their postwar involve- ment in the power apparatus that ended by the political and economic changes in the late forties and fifties. His professional fate speaks about the changes of cultural policy of the state, about the institutional development of the cinema and about the relations between literary and cinematic arts. It is a testimonial of what a successful professional career meant for a man of letters and what relationship it had to the cinema. We follow therefore a relatively brief but breakthrough episode of a writer and retired officer in the position of the Ministerial Counsellor, and we try to place its course and causes into a complex network of historical and social contexts and personal motivation. Focusing on this personality unburdened neither by a historical uniqueness, fundamental role of...