Bio art is a contemporary art practice that works with living organisms (except humans) or is created in cooperation with living organisms. It is relatively new art movement that is rooted deeply inside the history of evolution, domestication of animals and plants, technological discoveries, their development and science. Never before was art questioning its ethics and aesthetics in such profound, molecular and sub-molecular way. In this work I will consider the historical influences and conditions that led to current developments in the field. I will also try to explain the problematics of defining what bio art is and try to clarify the associated terminology. Most relevant and ground breaking works in the field will be mentioned as some new recent developments. Aesthetics of bio art is also an important subject often set aside by the ado around ethics of it. It is an extremely important subject to be considered when talking about bio art and I will try to sketch out a brief outline of it with references to philosophy and contemporary bio art theory.

Importance of everyday life in construction of new film worlds on examples of Czechoslovak movies about 19th Century explores what everyday life actually means and how it is used. It analyses the different layers of everyday life in the movies Divá Bára (1949), Babička (1971) and Tisícročná včela (1983).

In my work, I would like to close the term "Late photography". Personally, I believe that since the seventies we in the works of many artists find similar documentary strategies that relate to the concept of "Late photography". Currently, there is a certain exhaustion of this concept. For these reasons, I would like to focus on finding artists who suggest a new direction in photography while benefiting from a "photojournalist".

In film, the term “prologue” nowadays denotes almost everything that appears before the opening credits. The meaning of this word is not fixed. This thesis does not define the “prologue” phenomenon and does not wish to describe it in the historical context of art spheres. It deals with the opening scenes at the beginning of a film before the onset of the actual composition of the main story and addresses their functions in the entire dramaturgic structure of the work. To facilitate the apprehension and description of “prologue”, the thesis attempts to generalise the term and classify it into several groups according to defined criteria. It does not set itself the objective of forming a definition but of analysing the dramaturgic structure of a conventionally understood term “prologue” and initiating a discussion on all fronts of the film-making profession about this tool that can do more than just touching up the first few minutes of a film.

Work solves the problem of long-term storage DOP želatinostříbrného positives. The first part focuses on identifying material composition based on the description of the production and manufacturing process. In the second part defines the factors influencing climate in the depository, description and causes harm DOP želatinostříbrného positives and fundamental questions of the issue of preventive care. Work is a study of contemporary literature technological DOP in the range of 1880-1950 years, the issue of preventive care is handled by specialized research studies domestic and foreign literature, between the years 1970-2015. Processed were books, articles in professional periodicals, anthologies of texts, and grant research reports, guidelines and standards. The result is putting conditions for long-term storage DOP, current recommendations for long-term storage DOP želatinostříbrných positives by comparing the approaches of professional institutions focusing on preventive care for the photography.

The purpose of this thesis is to define the term ,,magical realism“ and reveal its main features. Based on that I choose four films that differ both in time and place of origin but share common magickorealistic tendency. The most important aspect of this research is the approach to representation of the nature and natural elements in these movies.

Abstract The thesis Internal film logic analyzes the processes by which an audience is guided through visual signs. Film is conceived here as a type of communication. The text explores processes and relationships in the author-artwork-audience axis, and offers a terminological apparatus to philosophically work with basic questions regarding creative intention. The purpose of this work is to lead the reader-cinematographer towards awareness of organic structures within film alongside the commonly utilized technical frameworks. If an author can conceive of film as a communication process, then a film can come to life as a „dialogue“: to direct audience's thought paths, provoke their intellectual capabilities, and enliven their experiences against their expectations.

! ! Dissertation Abstract ! ! This research presents examination of the figural theory as established by Jean-François Lyotard in his work Discourse, figure (1971). Figural theory groundwork proved to be underpinned within the psychoanalytical framework as in the classical dreamwork and concept of transitional space as elaborated by D. Winnicott. We argue that the specific figural intermediary space defines a type of space that allows the image and the viewer to explore the individuation processes, as established by G. Simondon (1992) and thus create potential new series of the image which instigate and challenge new perceptive patterns of the viewer. Figural backdrop has been detected within the work of Gilles Deleuze, precisely in Logic of Sensation (1981) where Deleuze examines the diagrammatic system. As a result of the in-depth exploration of Lyotardian poetic transgressions as we have applied on the film intertitles we have proved a presence of a specific mobile integral title. This type of inter title brings forth the coalescence of text-image that resurfaces the image's resources. The pictorial transgression was examined on the example of Nicolas Roeg's color- events in Don't Look Now 1973 and the cinematic transgression was explored on the example of William Kentridge' s video work Automatic...

History is a major point of inquiry and exploration in all Byron's major, and many of his minor, works. Byron understands and conceptualizes history and its tight and troubled relationship with literature, drawing attention to the literariness of history and the historicity of literature in his wake. The aspiration to the 'truth' of history is, for Byron, a highly creative process, highlighting the cross-pollination of fact and fiction, and also exploring history's inherent theatricality. Historical writing shapes but, crucially, also distorts our understanding of history. The dramatic works of Lord Byron are, on the whole, traditionally the least critically explored territory of his oeuvre. Byron's singular understanding and conceptualization of history in his dramas is the focus of this study, comprising the seven dramatic works he wrote between 1820 and 1822. As this thesis shows, these dramas make up a dynamic dramatic project, creating a space of formal, discursive and thematic experimentation, which reveals not only Byron's intense involvement in matters of drama but also, in a wider perspective, his understanding and treatment of history. This study takes up Byron's treatment of history in his dramas and analyses it through the methodology of play laid out and adapted for use in literary...

In my thesis I focused on the topic of the night in the Czech fine arts from the 19th to the 21st century. The aim of my work is not conduct a survey of the issues as a whole, it does not make efforts to be a historical outline, but the goal is to present a different conception of the night in the works of some selected artists. This text is concentrating on the works of artists who design the night in the landscape and urban sceneries. In every night scene we can see the light, either natural or artificial, which is the bearer of artist´s imaginings. The work goes from the introduction of the light and darkness symbolism throughout the era of the human history and physical essence of the light to the presentations of individual artists who reflect the night with natural kinds of light or the artificial ones.