The theses deals with the life and work of british film direct Peter Watkins. It starts from his amateur work and goes to his last film. The individual films reflect the filmmaker's continuous effort to create films against the establishment and monotonous methods of directing and producing. The second part of this theses describes the monotonous formal concept named by Peter Watkins as Monoform and his personal and conscious distancing from it.

The diploma thesis deals with an interpretation of a scenic movie environment in eighties of the twentieth century. In the beginning, I tried to recognize the cultural and historical context of the eighties that introduce us to the optical perception of this time. For a full picture serves listing movie frames with typical visual representation of these years. Particular attention is given to four feature films that could serve as a scenic genotype, which can be applied in the design of movie scenes of post normalization Prague environment. The greatest extent of the thesis is devoted to the performing processing of screenplay "Wenceslas Square" by Christopher Marcus and Stephen MrFreely, which was created by the story of Arthur Philipse. It is an unconventional love story, set in Prague in the eighties of the twentieth century and ending with "Velvet Revolution", over which no one of the protagonists is enthusiastic. Attached is a draft screenplay point of each scene, including indicative floor plans and reference photos. Keywords: film rendering, Prague in eighties of the twentieth century, processing stage design scenarios of "Wenceslas Square ". Keywords: film rendering, Prague in eighties of the twentieth century, processing stage design scenarios of "Wenceslas Square ".

Diploma thesis "Structural and contentual transformation of Czech and Polish magazines focused on film and cinematography after 1989" focuses deals with character of the change of magazines focused on film and cinematography after the breaking year 1989. The thesis is searching for these changes in Polish and Czech background and their similarties or differences. It follows the structure and thematic content of these magazines connected with the transformation of social-political and media background.

The diploma work gives an overview of the development of cinemas with respect to traditional movie theatres and situates it to the present market when meeting some serious problems -- decreasing attendance, commercial multiplex competition and offen insufficient application of marketing knowledges. The work tries to find an answer of the question if the classical movie theatres are convicted to termination. To sort out the task it uses marketing tools with respect of the specific cinema's environment, analyzing recent situation and proposes new marketing methods of solution, which could lead to positive changes aiming primarily to increasing of attendance.

The aim of this thesis is to map and subsequently analyse and evaluate all the processes that are going on in the Ponrepo cinema. Even though it is an archive cinema it is currently participating in more complex and broader activities than just film screenings. Therefore, this thesis deals with the processes associated with traditional function as an intermediary of collections of the National Film Archive to the public and the processes associated with the new mission as a creative centre or platform for film education.

The aim of this work is to describe history of audio-visual technology and to analyse the influence of digitalization. The text describes the history of cinematography, television and also the introduction of audio-visual technology to people's homes. It contains information on present situation as well as new trends and the influence of the Internet on audio-visual making. There is a comparison of past and present technologies. The new technologies are accessible even for amateur creators which helps them to open new possibilities. This work is also focused on the influence of audio-visual technologies on the final look of the film. In practical part of this paper, author recommends specific technology suitable for certain target groups accordingly to their budget.

The aim of this work is a statistical analysis of expenditures of households on culture, description of current economical situation in the field of cinematography, characteristics of a cinemagoer and a projection of future developmental tendencies of cinemas. The first two chapters are dedicated to a description of the current state of the Czech cinematography and information about the evolution of the Czech film production. The third theoretical part describes basic statistical methods used in the practical part of this work. The fourth part is focused on a film viewer -cinemagoer using MML-TGI method and it also includes analysis of the dependence of expenditures of households for culture on the cinema ticket price. The fifth part is dedicated to a projection of the future development of the attendance and receipts of cinemas. The final chapter deals with the state of European cinematography.

The main topic of this diploma thesis is the relationship of movie and human perception. Movie is a purely technical medium that moves images for the first time. The starting point of the work is the book written by French cultural theorist Paul Virilio and his reflections on film and technology. Virilio's position is negative in many ways due to cinematography. He blames technology for horrors inflicted during world wars. Cinematography is guilty of a revolution of perception that leads to the decomposition of the vision and the disintegration of the classical dimensions of space and time. In my work Virilio's views are confronted with the reflections of Virilio's contemporary, also the French theorist, Gilles Deleuze. Deleuze understands movie in many ways differently than Virilio. Also his opinion on the technique is quite different. The movie after World War II is a medium that no longer attempts to imitate natural perception. Such film can cause a shock to the audience. This shock opens up new possibilities of thinking and perception, and the viewer gains the opportunity to achieve a specific spiritual life through a movie.

Tanya Silverman CECS 2018 Abstract The Czechoslovak New Wave film movement saw directors such as Jiří Menzel, Věra Chytilová, Miloš Forman and Ivan Passer capture the liberalized mood of the 1960s. After the momentous cultural era ended in the aftermath of the 1968 Warsaw Pact invasion, all four figures continued their directorial careers, albeit either by overcoming bans or emigrating to the United States. This thesis aims to put forth a unique methodology of examining how these four auteurs' filmic outputs demonstrated their interactions with social environments from the 1970s to 2006. The research process included systematically surveying films for cues and corroborating observations with interview media or memoir texts. The analytical structure focuses on three significant tropes: car culture, money as power and censorship. Descriptions include particular findings pertaining to all four directors as well as synthesis for the contexts of both locations. The research suggests that Jiří Menzel and Miloš Forman exhibited the most reverence towards Czech and American culture, respectively, while Věra Chytilová and Ivan Passer demonstrated a number of similar societal criticisms throughout their filmographies. This thesis hopes to serve as a model for understanding post-New Wave films by Czech directors that...

The aim of this thesis is to compare the use of journalists as characters in Czech and US audiovisual industry, primarily cinema. As expected, the work finds that Czech cinema cannot compare with American in volume. Also, different history has led to a completely different position of journalists in culture and popular culture in both regions. The thesis tries to introduce both systems and look for reasons of absence of journalistic characters in Czech cinema. It also examines the way in which cinema is able to communicate at all and what demands can we have on the dialogue between piece of art and us. The thesis deals with the transformation of journalistic profession into genre and archetype in American mainstream cinema. The ambition of the work, which in many respects compares the present with the absence, is to describe the space in which the observed presence and absence take place. The main difficulty in elaborating the topic is the marginal size of the Czech market compared to the American and even more marginal use of the journalist as a prominent figure in it. Therefore, the thesis tries to explain why the situation with the help of professional literature rather than mapping the explicit presence of journalism in narratives of Czech and Czechoslovak films. Since Czech cinema has in many...