The subject of this theses are the films of Lithuanian avant-garde artist, organizator and original interpreter of life, Jonas Mekas. Specifically I'm dealing with the development of his work from the complex film-diaritical sagas to video pieces presented on his web side. I'm exploaring where does he see the diference between the way he captures life and what we call documentary film, what does a reality means to him and how does he get closer to it's essence with the help of his camera. I'm observing how did the recent technical development effected his work - the arrival of video, computers and subsequently internet. I'm trying to understand where does diary-film stand in the frame of history of cinema and where is it's place in the context of the contemporary art scene.

The main topic of my thesis are audiovisual images of a new sort which spread across traditional media and internet video-sharing websites during the events of Arab revolutions in 2011. This amateur footage was made by direct participants of revolution events, not by professional journalist or documentarists. In my thesis I research these video-images in the context of imaging of political violence in the history with special focus on the history of war photography and journalism. My thesis investigates the role of new media and the internet in changes of the experience of watching audiovisual footage. Last part is an effort of classification of the amateur AV images of the Arab Spring and review of their significance in the context of contemporary documentary film and journalism.

I would like to understand the importance of an actor in a movie. I choosed Serge Reggiani, a french actor, who never became a star number one. Reggiani went through a lot of important movies in principal or small roles. What it really means acting in a movie, what brings freedom to an actor in front of a camera and is one actor able to play different characters in every other movie. A diversity and length of his filmography, different directing styles he went through will help me to concretize attitude of an actor and perception of his „different“ characters by audience. I would like to bring up some acting metodes in cinematography in my work too.

This study focuses on structural analysis of narrative of the double journey film The Queen according to three types of structuring - classical three act structure, sequence approach and the hero's journey. Each of those methods is examining the story with regard to the fact that the film has two protagonists. It is also taking into consideration the possibility of adjusting these model structures to fit this particular story. The study concludes that each of those methods can be beneficial if used in service of the chosen theme.

.Wedding traditions and customs vary greatly between cultures, ethnic groups, religions, countries, and social classes, which makes the wedding a diverse and unique experience from almost every point of view. The analysis of tehcniques and aesthetic styles, paying special attencion to color and other visual narrative elements, is ides to argue that wedding films should be considered a new genre, as a new and unique way of filmmaikng.

Despite the fact that the French philosopher Gilles Deleuze has included many contemporaries, co-workers and friends of Chris Marker in his controversial writings on film, Marker himself is missing among the analyzed filmmakers. This thesis challenges the supposed passiveness between both authors assuming certain intersections between their thoughts, aiming to look at several of Chris Marker's emblematic films - indeed not comprehensively, rather naturally subjectively - through the key themes from some of Gilles Deleuze's books. Statues Also Die and Cinama II: The Time-Image; La Jetée and Bergsonism; Sunless and Proust and Signs.

Master thesis maps over the decades various periods in the life of the department of documentary film, from its very beginnings to the year 2002,when there were significant conceptual changes in teaching, but also the transformation of the teaching staff.

The master's thesis on Contemporary European Animated Features for Adults describes and analyses feature animated films for adult audience that were produced in Europe between 2009 and 2015. The animated feature film historical context as well as the aspect of adults as the target group are mentioned. The thesis’ assumption is that ten years ago Persepolis and Vals Im Bashir has settled a new direction of European animation. Within the determined and described criteria the common features of analysed films are introduced, including the most common stories, genres, animation techniques, ways of financing and distribution channels. The general frame of European animation as a whole is described. The contemporary trends and tendencies are defined based on the analysis of finished films as well as those in development.

This thesis is devoted to French films and their distribution in Czech cinemas, on DVD or on television channels in last ten years. It describes their production and promotion, the system of subsidies from the French National Film Center (CNC) and the organisation Unfrance Films. This thesis further analyses the situation on Czech film market and the position of French cinematography in our country from the nineties to the present. This is accompanied by a list of French films released between 2002 and 2011. The work also focuses on Czech distributors presenting French films. An example of one such case is brought in by a case study on presenting of the film Mammoth. The work analyses conditions determining the current position of French films towards their competition and it follows reception and success they received in Czech Republic.

The theme of the diploma thesis is the image of Czech film and its criticism in the post- revolutionary period. The view of Czech cinematography in the 1990s is showed by professional reflection in the magazine Film a doba, traditional periodical published since 1955. The analysis reflects the form of critical pieces and the state of Czech film under the influence of new possibilities and production conditions in 1990-1999. The development of Czech cinematography is illustrated in the theoretical part with the help of literature, essays and critics. The paper also finds an answer to the question of how domestic cinematography and its criticism used an opportunity for development and whether it was successful. The research also includes external influences such as the gradual development of multiplexis, the privatization of film studios and the interest in films by Czech viewers under the influence of foreign titles.