Diploma thesis Edvard Beneš as character in postwar cinema deals with specific issue in relationship between feature film and history. It is focused on the development of knowledge in historiography of science and gradually recognition of the film as a historical source. President of Czechoslovakia Edvard Beneš was chosen as a laboratory sample for my research. The work looks into Beneš's image from the first normalization movies by Otakar Vávra till contemporary TV series České století. The work is also trying to reflect my own experience with editing process of historical drama.

ABSTRACT The main topic of this diploma thesis is the analysis of the ways old-age and its attributes are represented in current Czech cinema when compared to newest sociological data on Czech seniors. The work attempts to find out whether the way seniors are presented in films corresponds to reality and if not, what are the reasons behind it. It also addresses topics such as the specific traits of the current generation of Czech seniors, their economic, social and family situation and the way these are reflected in Czech films. The thesis also looks at more general topics such as old age and gender, loneliness or freedom and last but not least analyzes the methods that filmmakers used to portray the themes of memory and reminiscing in their films.

The main goal of the Diploma Thesis is to inform a reader about the work of an American film director Sidney Lumet, and to describe his directing style which is based strictly on a film's theme. The thesis also searches for director's typical themes and patterns visible in all of his films.

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.

The theme of the diploma thesis is the work of French animator and director Sylvain Chomet. Chomet is introduced as the most significant figure in contemporary French animation. By analysis of three of his films is examined Chomet's contribution in the field of feature animation. The focus is placed on the film The Triplets of Belleville, which is considered the most impressive Chomet's film. The goal is a comprehensive view of his past film work in the context of the epoch. Marginally, this work also deals with Chomet's participation in the field of feature film and not least with his comics work. Part of the text is also aimed at Chomet's collaboration with artists Nicolas De Crécy and Evgeni Tomov with aim on the illustrator De Crécy, who is currently one of the leading French artists.

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.

This thesis will deal with the creation of important representatives jekatěrinburgského study of animated films Oxana Čerkasovové, Valentina Karajeva, Alexandra Petrova, Andrei Petkevič, Sergei Ainutdinova and others.

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.