The diploma thesis is focused at mythology of the current myths and basic semiotic features that appear in these films. It analyses and uncovers mythological structures that create a platform for the mores, and derives conclusions about the present society. It chose 30 most successful movies as a muster to analyze. It is divided in two main parts; the first one is focused at mythological aspects. Firstly, it describes the most frequent myths that appear in the majority of the analyzed movies. In the next chapters, it analyzes briefly some specific movies and points out their most distinct features. The second part is focused at semiotic features that are used by the film makers and tries to explain their meaning. The last part of the diploma thesis compares the Euro-American film production with that of Asia (especially China).

The aim of this Master's thesis is to conduct a strategic analysis of the multiplex CineStar Mladá Boleslav from a perspective of its management. This analysis provides information and suggestions for improvement, which this management can use during an effort to influence strategic goals of the multiplex, when these goals are primarily defined by management of the CineStar Company. The thesis is divided into three parts - theoretical, methodical and practical. The theoretical part consists of a definition of related notions and putting a strategic analysis into context. The methodical part identifies and describes applied methods and tools of a strategic analysis. The practical part consists of the strategic analysis of the multiplex CineStar Mladá Boleslav, which is divided into analysis of superordinate strategy, external analysis, analysis of stakeholders and analysis of internal sources and abilities. Outputs of these partial analyses are subsequently consolidated in a SWOT analysis and lead to formulation of strategic recommendations.

This diploma thesis discusses the process of Czechoslovak cinema in the fifties and sixties of the 20th century in the communist régime and under the Soviet influence. Labour analysis one of the most exciting period of Czechoslovak history in which alternated years of heavy dictation with years of social and cultural release. The first part focuses on the issue of nationalization of the film in the early fifties. The second part deals with the circumstances of the beginning of the brightest period of Czechoslovak cinema, new wave. The third part describes consequences that August 1968 and subsequent standardization had for local filmmakers. Throughout the work are surveyed facts commented by former protagonists of the time, Antonin Jaroslav Liehmem and Jiri Menzel, who gave interviews for the purposes of this study, the full text of these interviews are also included at the end. The goal is to find answers to questions about how much the Czechoslovak cinema was influenced by the Soviet Union, than if nationalization of cinematography had only negative or even some positive consequences, whether the emergence of a new wave was just an accidental phenomenon or if it was the inevitable answer to the former policy and whether it could be possible to the new wave arise in today's conditions.

This thesis analyzes the socio-political function of cinema in Yugoslavia during its two most vibrant eras, the 1960s and 1980s. Film in Yugoslavia existed on a materially state centered model yet presented an ideological plurality in its filmic representativeness that offers a richer and more dynamic understanding of the Yugoslav state. This thesis proposes that by looking at Yugoslav film from its inception following world war two until its dissolution in the early 1990s reveals a fascinating ideological trajectory reflected in the evolving contours of the socio- political and economic make-up of Yugoslavia.

Diplomová práce “Hrdinové nové Rusi: Analýza archetypů postav v díle Alexeje Balabanova“ představuje život a dílo jednoho z nejpozoruhodnějších režisérů nové ruské kinematografie Alexeje Balabanova. Užitím kvalitativní obsahové analýzy pojednává o všech jeho celovečerních filmech, jak těch dokončených, tak i těch nedokončených, a soustředí se na archetypy hrdinů, které režisér/scenárista Balabanov ve svých dílech soustavně využívá. Kromě toho práce rovněž popisuje, jak se tyto archetypy v průběhu času měnily, stejně tak jako se Ruská federace měnila po pádu Sovětského svazu a jak Balabanov sám tyto změny vnímal, ať už ve svém životě či ve svém díle. Zjištěné poznatky práce dále zasazuje do širšího kontextu postaveného na národních, historických a kulturních aspektech tak, aby poskytla pro čistě subjektivní přístup slavného režiséra také ryze objektivní rámec.

Final thesis reflects the preproduction and production of thesis film with the topic of radical football fans. Work defines the theme of violence in the world of rowdies and film work with them. Further analyzes not only the history of football fans, but their categorization in terms of sociology and their impact on contemporary society. Work is devoted to the history of Czech cinema, working with the motif of the football world. The reasoning at the conclusion of the thesis reflects the impact of the films on this topic at the general audience and selected subculture.

Indian Parallel Cinema is the mixture of Contemporary, Experimental and Art Cinema of India and always consist of low budget. Indian Cinema had started with its first silent film "Raja Harishchandra" in 1912. Indian cinema is often defined as Bollywood or Masala Films of India, since it is also the popular form with its ritual of song, dances and over-the-top melodrama. However, the 60s and early 70s were time of experimentation in the format of storytelling and form in Indian Cinema. Indian Parallel Cinema is a specific genre of Indian cinema which is known for its serious content, realism and naturalism, which reflected social and politics topics during those times. Indian parallel cinema represents a change of direction or a break with the traditional Indian cinema.

This thesis examines how the creators of Croatian Jadran film - especially in the 1960s - portrayed the events bound to known historical reality, how they artistically interpreted this reality, and which historical events in the surveyed period were in the focus of their interest. In my choice of films I followed mainly the production aspect, which is also the main criterion of Croatian film historiography for selection of films in the national cinematography. From the topical perspective, the predominant motives relate to the people's liberation war or the civilian stories taking place in the background of war events. The movie Nevesinjska puška, which treats more ancient historical events, is the only exception. The production can also be characterised by the manner of explicating a historical theme. It features film spectacle, lyrical parable, and film interpretation which can serve as a material for historical research and analysis, or for studying the mimetic period between a generally accepted and understood historical fact, and its artistic rendition. The last mentioned is often featured with pictures from the partizan milieu. Except for some rare cases, the pictures reflecting historical events limited by the end of the World War II are distinguished by a collective, vaguely-specified...

Tato diplomová práce se pokouší studovat dvě techniky používané při natáčení pohybujícího se úhlu pohledu ve filmech - kapesní kameru a Steadicam - k analýze toho, jak přispívají nebo zlepšují "realismus" ve filmu. K tomu dochází přezkoumáním stávající literatury o pohybu kamery a popsáním historie těchto dvou technik. Tato diplomová práce se také zabývá tím, jak byl pohybující úhel pohledu kinematograficky zachycován do dnešního dne. Na základě historického základu tato diplomová práce staví svůj teoretický předpoklad, mimořádně podpořený Andre Bazinovou teorií o filmovém realismu či filmy a představami o kinematografii, které uvedl Robert Bresson. Nakonec tato práce formuluje novou klasifikaci úhlu pohledu a perspektiv a analyzuje dva filmy (LászlóNemesův SonOfSaulaGusVanSantův Elephant) ,přičemžkaždý používá jednu z těchto technik natáčení pohybujícího se úhlu pohledu. Tímto způsobem se pokouší o pochopení, která z těchto technik pohybu kamery je nejblíže k dosažení "realismu" a představě kinematografie, jak je šíří Bresson.

This doctoral thesis analyses several narrative categories on the sample of Czech fiction films of the last decade awarded by the Czech film academy for best film and best direction, on the sample of the most successful film in domestic distribution and on other three chosen films. It applies also the view on myth studies. The founded results are then compared with the classical Hollywood model.