Diploma thesis deals with three forms of Solaris. Specifically with novel by Stanislaw Lem, a film adaptation of Andrei Tarkovsky and the second film adaptation of Steven Soderbergh. The aim of this work is comparison of individual authors practices that led to different semantic tone. Thesis analyzes six basic aspects of individual works: basis, genre, semantic structure, syntactic structure - a dramatic structure, characters and space-time.

The aim of this diploma thesis is the artistic and theoretical elaboration of the film of the genre of science fiction according to the book of Arkadije and Boris Strugacki. The thesis consists of two main parts, the theoretical and the own design of an art concept. The theoretical part deals with the definition of the science fiction genre, its historical development and also the analysis of creative approaches in the appearance of a foreign planet or the world of the future in Russian cinematography. I decided to analyze the variety of approaches in several selected films, where I focused on their art page, the use of the atmosphere and the film environment. The artistic part of the work contains its own art concept of the film.

We see the film like a reality because our perception of the film is like a reality around us. Movie as a dream and like a dream has unique tools how describe our soul and unconscious processes. This advantage is a crucial for my research, how can be useful for understanding how our unconscious works. C. G. Jung and Joseph Campbell and his work helps me with looking for the answer. How can film speak to us through the psychological layer instead of the narrative layer.

Summary: "Romani Accented Movies": Current situation of Romani Cinema and Its future Perspective The main theoretical approach that underpins this work is based on the concept of an accented cinema formulated by the Iranian film scholar Hamid Naficy. On the basis of his methodological tools the author examines some elements of the "accented style" as they assert themselves in the Roma cinema, and comes to the conclusion that already on a small sample of ten Romani filmmakers we can see certain components that are more or less common to all featured artists. Foremost there is shared existence in the "interspace", which is moreover in some aspects different from the exile or other diaspora filmmakers' "boundary" existence, given by the specific status of the Roma minority in society. Roma cinema is characterized by autobiographical approach and author's self-inscription into the story. From the production point of view these films are mostly alternative, low-budget or art-house ones. Romani cinema is most often supported by public broadcasters, subsidies from the state, nonprofit organizations or small production companies. Staffs are often formed on friendship or family ties, the filmmakers usually work with the similar team of people, hold multiple positions themselves and also are present at different...

How can movie production companies speak to their potential audience thru movie trailers? Which means do they use and what is the public reception? How does a viewer interpret a movie trailer? What can we learn about viewers from movie trailers? This thesis is offering all the answers to questions mentioned above in two different parts - in the first part the concepts of movie trailers are introduced and explained, the second part analyses the outcomes of a research which studies the affects of movie trailers on potential audience. Collected data through quantitative methods of two uniform groups on the topic of movie trailers were studied by focus groups. This thesis focuses on understanding the approach of viewers on movie trailers and is trying to clarify when the movie trailers can act as a decision maker in order to change the approach and behavior of the audience. Thesis aims to offer a broader overview to the relationship between movie trailers and viewers and propose a guide how to read audiovisual works critically. The intention is to uncover that the scheme between text and context is characterized by complex processes of mediation and interpretation on the level of production, propagation and reception. The outcomes of the study can help to understand how viewers as consumers interpret...

Diploma thesis Semiotic analysis of Martin Scorsese's films focusing on Raging bull and The Wolf of Wall Street aims to capture unique and original signs in both films mentioned. Through semiotic analysis it examines key elements of film language - structure, means of expression in film and composition. The thesis also focuses on capturing director's characteristic filmmaking techniques and how these techniques and elements affect the viewer. At the same time it examines in detail various aspects of the director's films and film processing in both of them. It is also focusing on description of unique and specific items of Scorsese's work and analyze them in the context of the two works. The final part explains the cause of the original concept of author's films and his great success and popularity not only among film fans.

The topic of the thesis is work of Karel Zeman - the important Czechoslovakian film director of the second half of 20th century and his media image in the Czech media of that period. Karel Zeman is one of the leading figures of post-war cinematography, especially one of it's branch - animated film. Karel Zeman is famous for his feature films Journey to the Beginning of Time, The Fabulous World of Jules Verne and The Fabulous Baron Munchausen, in which he combined performed and animated parts. His work is so specific and so tied together with the director that after his death nobody was able to continue in it. The thesis describes in chronological way Karel Zeman's work, from the first short animated films over the most famous featured combined films to the featured animated fairy tales for children. For understanding of the whole context the thesis briefly describes beginning of animation in the world and in Czechoslovakia and also continuously touch important changes in Czechoslovakian cinematography, which directly affected Zeman's work (post-war situation, nationalization of cinematography). The thesis also touches Karel Zeman's personal live. The base of the thesis is focused on characterization of the particular films - short description of the plot, art processing (visual conception of the...

ABSTRAKT Tato magisterská práce s názvem Umění statičnosti: Ruben Östlund – Studie formy, funkce a provedení se zabývá minimalistickým vizuálním jazykem režiséra Rubena Östlunda a jeho kameramanů Mariuse Dybwada Brandruda a Fredrika Wenzela. Östlundův nejnovější snímek The Square (2017) byl nominován na Oscara v kategorii nejlepší cizojazyčný film. Tato práce si všímá způsobu, jímž se do Östlundova vizuálního přístupu promítá jeho filmařská filozofie prostřednictvím analýzy a dekonstrukce vizuálního jazyka jednotlivých scén ve třech jeho filmech: Play (2011), Force Majeure (2014) a v jeho nejnovějším snímku The Square (2017). Analýza těchto děl se zaměřuje na jeho „protihollywoodskou“ estetiku a na způsob, jímž se vyhýbá snaze určovat emoční reakce svého publika. Její hlavní rysy lze rozdělit do tří kategorií: estetické preference týkající se kompozice, perspektiva kamery a délka záběru v kontextu jeho statického jazyka. Tyto fundamentální vizuální principy podporují jeho klíčový vizuální motiv „perspektivy pozorovatele“, který je přítomen ve všech jeho filmech. Jeho snímky vyjadřují morální postoje filmaře prostřednictvím hlavních postav, ale zároveň představují mocná a evokativní umělecká díla. Jednotlivé kapitoly se rovněž zabývají tím, jak se realizace tohoto vizuálního jazyka režisérem a kameramany v průběhu jeho díla vyvíjí – od jedné vyvýšené zavěšené kamery až po sekvence pracující s kamerovými jízdami a plynulým pohybem. Navzdory vývoji jeho vizuálního jazyka se však Östlund drží své principiální filozofie jak vizuálně, tak narativně.

The preliminary part of the work Image of the Šumava in feature film deals with the Šumava area, its origin, area, climate, waters, natural disasters, agriculture, industry, crafts and everyday life in Šumava. The aim of the work is to occupy with films which were filmed in Šumava. In this films Šumava plays either the main part, where the directors set the plot of the film in the area of Šumava intentionally or it is just backround to the main plot of the film. There are also some pictures or posters of the films and some cuttings from periodicals in this work. The work is based on contemporary and secondary Czech and foreign literature, Czech and foreign periodicals, internet sources or professional and personal analysis of the films themselves. KEYWORDS Šumava and cinematography, Nazi propaganda, communist propaganda

Tato práce si klade za cíl popsat a prokázat nevyhnutelnou existenci patosu v makedonské kinematografii, jako esenciální prostředek filmové řeči a způsobů narace. Práce se pokouší ilustrovat a ospravedlnit přítomnost patosu ve více než 90% makedonské filmové produkce, coby důsledku poválečné politické historie a zakořeněnosti pocitu podřízenosti balkánské populace, která sama sebe vnímá jako obět útlaku "ostatních" národů. Tento cíl práce naplňuje zkoumáním makedonské historie od počátku kinematografie do současnosti a dále analýzou deseti hraných filmů z různých dekád národní kinematografie, s ohledem na užití patosu a jeho nezbytnost.