Thesis named The Main Dramatic Conflict In the Contemporary Czech Film analyzes what is the impact of the position of the main dramatic conflict in the structure of the five full lenght czech films made in 2014. The films are The Way Out, Fair play, Nowhere in Moravia, Three Brothers and the documentary film Into the Clouds We Gaze. The work is divided into two main parts. The firs part summarizes theoretical resources relating to the problematic of the main dramatic conflict and it also includes historic point of view. The second part appertain to five practical film analyzes that are based on films together with a screenplays. It reveals the changes that was made during the editing process and the way how they impacted the story structure.

This work deals with the analysis of compositions by Pat Metheny from his early work. The aim of the analysis is to specify individual compositional elements, to describe their role in specific compositions and to evaluate how they interact and complement each other. The output of the thesis will be an analysis of the composition intention itself supplemented by the acquired experience.

This diploma thesis named Current Technology Trends in Film Distribution and Their Development aims to provide a comprehensive overview of video, audio and other technologies currently used in film distribution. In the introductory chapter it summarizes the history of digitalization and its impact on the discussed technologies. The work then analyzes them from different perspectives: explains their technical principles, describes their evolution, focuses on their use from the perspective of filmmakers, producers, distributors and exhibitors, discusses their financial aspects and lastly focuses on their significance within home entertainment. In one chapter it also analyzes the use of discussed technologies in the Czech film industry. Finally the thesis reflects on the future of technology in cinematography and also determines directions that in the author's opinion cinematography will take from a technological point of view.

The aim of this diploma thesis was exploration, interpretation and proposing of the preventive care of photographic fund from the state castle Grabštejn. The theoretical part is generally dedicated to the funds and collections administered by the National Heritage Institute, their destiny after the 2nd World War and the historical context which caused movements of these funds. A separate chapter is also devoted to the methods of exploration of the funds and collections. The second part of this thesis focuses on the history of the Grabštejn castle and its last owners - the Clam-Gallas family, with whom the preserved photographs are associated, and on the transport of the funds in the postwar period. The thesis follows the main journey of the photographic fund and related archival materials from the Grabštejn state castle to the collecting sites, museums and archives. Therefore the survey also took place in the National Museum Archives, the National Archives, the Institute of Art History of the Czech Academy of Sciences and the State Regional Archives in Litoměřice. The fundamental part of the survey was carried out in the castle Grabštejn. There were also studied the specific climate conditions for the photographs, which differ in the castle from the classical museum and archival depositories. Measuring of humidity and temperature was evaluated at the end of the thesis and recommendations for the preventive care were suggested.

The goal of this work is to popularize certain sound theory issues (e.g. storytelling, interactivity/immersion, sound/image perspective, semiotics). It deals with the basic sound/image and diegetic/extradiegetic relations, compiling the works of various sound theoreticians. Despite being focused on narrative film, it discusses specific features of four most common semi-narrative genres and gives a hint of sound/image relations in non-narrative and interactive audiovisual media. Apart from the sound/image/diegesis relations, this work briefly explains the synchresis phenomenon and the meaning of tight or loose sound/image synchronicity for tampering with the perspective and perception of the filmic time and space. The appendices contain some information concerning related themes – a short combinatorics column, a column explaining the three basic sound planes, the use of sound as a signifier and a longer quotation of Michel Chion’s article on rendered sound.

Susan Sontag’s reviews and descriptions of agony images is the keystone of war photography. From On photography(1977) to Regarding the Pain of Others(2003), Sontag wrote about how agony images could affect the majority of people. Media ruled photographs and used them as its own container. Through her book, the passiveness of the audiences was examined. She criticised the way of how people looked at an agony image. According to her, audiences constantly consumed other’s pain if the they are far away. She judged repeating formats and simplified messages from media which numb the sensation of people, the surfeit of similar horrendous images turned an audience into a consumer. “Is a photograph ever “real”? she asked. Firstly, within in my thesis I would like to to examine the relevancy of Sontag theory, her interests in emotion in charge of atrocity and pain. To found out the possible respond of the audience, in respect to war in contemporary art photography. When artists have the chance to turn their camera from those atrocity on sites, what could be the differences in audiences’ reactions from traditional war photojournalist. Moreover, Sontag’s concept “the audience as consumers” will be traced back to its basic elements. To scan the particular words and phrase which Sontag used in her two books. Secondly, use Regarding the Pain of Others(2003) as a starting point of the timeline, then search for the critical thoughts which against or support Sontag’s words during the decade. Furthermore, use different concepts of the agony images to examine the remarkable singular atrocity images and the art works relate to war and atrocity. To explore the change according to the interaction between atrocity and contemporary photography and their audiences. After all, use the dialects between the theories and the war in contemporary art photography to extent the perspective from Regarding the Pain of Others(2003) to get closer to our time — to build the the reference of how to see an agony image.

This thesis called dual concept of a character deals with the existence of films where the protagonist is not the main character of a viewer. The work examines on the basis of which principles this effect occurs. Then it is described, what kind of relations these characters have with each other, and how they influence each other during the narration. A few rules are set on the basis of the particular film examples, which fulfilment contributes to this effect. The aim of this work is to explain the difference between the function of a protagonist and the main character of a viewer. It also classifies types of stories, where the effect of a dual concept of a character occurs most often.

This thesis describes the origins of film-noir genre, historical context of classic noir era as well as the influence of its film predecessors, emphasising the tradition of german expressionism. Each single aspect creating the characteristic film-noir look is analysed and described in detail, and illustrated using film stills containing such aspect. Following text summarises reasons and circumstances of the end of this classic era. The second part of my thesis is dedicated to the utilization of this noir aspects in later films all the way up to the present times. This part is also supplemented with practical examples of these elemets being used.

The theme of this diploma thesis is perception of time within the audiovisual work. Particular attention is paid to the audio component of the audiovisual work, from which perspective is seen the phenomenon of time. First there is briefly introduced understanding of time evolved within the philosophical context. The next part presents film as a medium that, from its formal nature, brings new impetus that further develops the thinking of time. After this introduction work focuses on the way of perceiving time within the sound itself, respectively in music composition. It is based on the findings of psychoacoustics and, above all, on the theoretical considerations of French composer Gérard Grisey, to which is trying to find parallels in the context of the sound dramaturgy of the film work. The last part deals with time relations arising from the relationship between film image and sound. It is trying to question and then generalize specific formal relationships within the audiovisual work, influencing the subjective perception of time.

Masters diploma thesis The Mary Sue Principle or How Not To Create A Too Perfect Character is focused on the literary phenomenon of fan literary work – fan fiction – and its specific genre, Mary Sue. For this genre are typical almost ridiculously/absurd perfect characters, which attract all of the attention to themselves and often have excessive superpowers on their disposal. The theoretical part of the thesis outlines the reasons for the creation of Mary Sue and explain specifics of this phenomenon. Moreover, it describes describe dramaturgic rules, which are supposed to help authors to create a character. The analytic part of the thesis then analyzes three movie and TV series characters – Jon Snow from Game of Thrones, Ray from Star Wars: The Force Awakens and Grace from Peaky Blinders – which can be used to demonstrate components of a Mary Sue type of character. The goal of this thesis is to propose the use of the Mary Sue principle as a dramaturgic tool for character building.