Filmy kontroverzního polského režiséra Andrzeje Żuławského se v duchu synchronicity měnily rovněž v závislosti na trajektorii jeho osobního života. Užití duality ovšem i přesto zůstalo konzistentním principem jeho uměleckého přístupu, což zároveň přispělo k protichůdným reakcím diváků, jenž byli s jeho filmovou produkcí konfrontováni.

Tato práce se zabývá dílem režisérky Lucrecie Martelové, představitelky současného argentinského filmu. Její celovečerní filmy analyzuje z hlediska narativního, auralního, vizuálního a tematického. Martelová tvrdí, že při výstavbě svých filmů užívá principu “vrstvení” narativního a emocionálního obsahu a práce zkoumá, co toto tvrzení skutečně znamená. Pomocí těchto elementů charakterizuje jedinečné autorské kvality Martelové. Zvláštní důraz je kladen na gramatiku filmového jazyka, zvuk a obraz, kterých filmařka užívá ke sdělení relevantních informací o dějové linii a k vytvoření smysluplných metafor. Tato práce přispívá k relativně malému množství anglicky psané literatury o Lucrecii Martelové.

In my thesis, I will focus on the situation around the current Australian film (since 2000), whether it is a film for theatrical distribution or tv film, but I want to concentrate on feature films. Also, I am interested how does the film industry look like in Australia and what are the possibilities of cooperation between Australia and the Czech Republic, so the information will be useful for Czech producers.

Tato diplomová práce zkoumá režijní a scenáristický přístup francouzskotuniského filmaře Abdellatifa Kešiše. V této práci budou probíhá analýza pěti filmů režiséra na základě takových prvků, jako jsou narativní vytvářeni postav. Na základě důkladné studie těchto prvků struktury, témata, vizuální jazyk, práce se zvukem a taky diplomová práce analyzuje stylistické volby, které formuji Abdellatif Kešiš vysvětluje, že nechce, aby jeho filmy "vypadali režijní přístup Kechiche, stejně jako nástroje, které používá k vytvoření nových realistických Kechiche, stejně jako nástroje, které používá k vytvoření nových realistických Kechiche, stejně jako nástroje, které používá k vytvoření nových realistických filmů v současné Francii. Abdellatif Kechiche říká, že nechce, aby jeho filmy vypadaly pouze jako ze života: „Chci, aby zachycovaly skutečný život. Reálný obraz života, to je, co mne zajímá.“ (Romney, 2013) Tato práce analyzuje význam tohoto prohlášení.

Diploma thesis deals with public financing of Czech cinematography from 1989 to the present, focusing on state funds. It outlines the economic aspects of public support of this specific area and puts film into economic theory of goods and into the concept of cultural and creative industries. It also describes the legislative development up to the present Audiovisual Act, by which the State Cinematography Fund was established. The paper analyzes the structure of the Fund, its activities and its funding. Another object of the research is the development of financing of cinematography support. The thesis identifies sources of funding to support the film, and for what purposes it has been spent. For comparison it provides a brief overview of support in Europe and the description of support schemes in Great Britain and France. Main goal of the thesis is to evaluate the development and current state of public support for the film.

(In English) The diploma thesis is about the nationalization of Czechoslovak cinema from the beginnings of reflections and preparations that led to this step, to the debates and institutional steps that occurred after the adoption of Decree No. 50 on measures in the field of film in August 1945. The thesis perceives the issue of nationalization of cinematography as a process in which the political and social changes that affected Czechoslovakia during the 1930s and 1940s were reflected. The aim of the work is to find out what circumstances led to structural and property changes in cinematography, and what these changes meant for Czechoslovak film. The thesis will be based on archival materials, periodicals and professional literature.

I compare the most important long-term observatin projects in my thesis . These are film's Helena Třeštíková Marriage Etudes, Michael Apted's Up Series and a project Kids from Golzow from Winfried and Barbara Junge. Everything is supplemented by an inventory of existing and traceable long-term observation projects.

This thesis aims to describe the current theatrical distribution capabilities of Czech documentary films in cinemas. The starting point is the description of the model of a theatrical distribution on the Czech market and also collected facts and statistics about the attendance of documentaries in cinemas in the period of the years 2000-2013. These are used for subsequent consideration of the potential of documentary films in cinemas, on the possible benefits of film festivals on the way of the film to the audience and also on which films are suitable for distribution in cinemas. The work also includes a case study and comparison of the distribution of two documentary films that were shown in the Czech cinemas in 2013. The aim is to reflect on the current situation and to find ways to improve the position of documentary films in the context of theatrical distribution. Another objective is to outline future prospects.

Michael Haneke´s The White Ribbon, Bertrand Bonello´s L´Apollonide, The Girl with a Pearl earring by Peter Webber or The Silence of Joan by Philippe Ramos are European arthouse films, which could be seen as films based on history or historical events. In compare with mainstream films all these authors draws inspiration from changes in historiography in last fifty years to make their fictional worlds more credible. Except of concrete descriptions of their methods the thesis includes also the reflection of the audience perception of films based on historical events or the willingness of the audience to believe the presented image of history.

This postgraduate thesis called "Gender, Identity and Sexuality in Japanese Anime", will be dealing with the depiction and grasping of the meaning of gender, sexuality and identity and the overcoming of their traditional borderlines in Japanese anime. The meaning of the word "gender" in this thesis, is primarily referring to it's original meaning, typically used with reference to social and cultural arrangements of gender roles rather than biological differences between sexes, which is how the word "gender" is often misused. This thesis will primarily be an in-depth research of the diverse interpretation of gender, sexuality and identity in Japanese animated film from an anthropological point of view, incorporating history, tradition and social development in Japan, ranging from its very first mythological beginnings up to present day. Japanese animated film is characterized by its broad range of genres and it's diversity, which is derived not only from the richness of its own unique culture and way of thinking, but also by adopting western concepts, which are then moulded together and joined in a new original form. This manner of adopting certain aspects from other cultures and their uniting with Japanese tradition and culture created a rich fertile ground for growth of new concepts of gender, sexuality and identity. It is also thanks to this aspect, that Japanese anime has obtained a huge enthusiastic and devoted fan base all around the world. The aim of this thesis is to illuminate the background of the emergence of different concepts of gender, sexuality and identity in Japanese anime and to point out these aspects in individual film and series productions, which best depict these different concepts.