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The main goal of this thesis is to describe the unofficial genre of films without speech and to analyze principles of the use of sound and film language in such films. Initial chapters speak generally about the phenomenon of feature nonverbal cinema with the focus on its historical development and general film language. The middle part presents, and briefly describes chosen films without speech, and suggests their sorting into sub-genres. The last, vastest part of the work, is an analytic study of various approaches to reduce speech generally throughout film. This part leads into the final theoretical description of soundtrack in films without speech.

In my thesis I compare various trans* representations in fiction films, documentary films, TV series and video journals on the internet. I assume, that projections of trans* people differ in stories they tell, depending on media in which they are constructed. Most of the visible trans* stories in media are "being reborn to the right body testimonies (in opposition to the wrong body given at birth)". This is connected to the legislative rules one must follow if he/she wants to have his/her gender reassigned. Trans* activists in global context take steps closer to legislative changes that lead to bigger tolerance and freedom of gender expression. In analysis of characters of seven fiction films, three TV series, four documentaries, one reality show and work of three trans* video bloggers, I demonstrate, that the representation of trans* identities in mainstream media space is reductive and works within strict rules. These rules relate to pathological default setting of the trans* status. On the other hand, the more authentic the material is, the wider variety of stories we see..

Abstract This thesis deals with an audio-visual interpretation of a musical work. It is an extensive issue because audio-visualisation of music accumulates in itself a range of art disciplines and it works with their resources. The general idea of a development line is captured in the general part of the thesis which is dedicated to music and dance and film as its transformations. The second part of the thesis presents the basic forms of such adaptations and some film music genres with theirs specific features and there are also described some typical and unusual authors' procedures and the functionality of their approach is evaluated from a viewer's-listener's side. The theoretical support for the conclusions presented in the thesis are drawn from available resources and domestic and foreign scientific literature. The conclusions of a general assessment of possibilities and difficulties of audio-visual interpretation are based primarily on the analysis and comparison of musical and visual components in the selected audio-visual works.

The present thesis discusses the specific features in the use of montage within the shot as a stylistic device in film directing. Analysing the work of selected directors and their films, the thesis proposes a system of classification, introducing several key categories based on function.

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 topic of this thesis is the regional elections 2012 on example of South Bohemia region. In the theoretical part were described the regional administrative bodies and principles of regional elections. The practical part dealt with the analyses of the elections results and application of features of the second-order elections, which were described by Karlheinz Reif and Hermann Schmitt in the 70s years of the last century. In the theses was verified, that the government parties in the second order elections lose. These parties reached a minimum at mid-term of the legislative period and in this period lost a lot of their popularity. The most important aspect of second-order elections is that there is less at stake. This is the reason why the level of participation was lower in this type of elections. The last part of thesis deals with Theory of political coalitions. In the regional elections 2012 was established the minimal winning coalition, which included two left-wing political parties.

The aim of this thesis is to suggest a methodics for using colors in marketing and this methodics demonstrate in practice on the specific products of graphic design. To obtain information is used questionnaire investigation. For further determine behaviour of people, their opinions and attitudes is with the part of the respon-dents completed the questionnaire personally with the space for discussion. The results are statistically and graphically analyzed. The attention of the work itself is devoted to the presentation of the marketing research results and to the proposals of methodics for using colors. This methodics is applied to specific products of graphic design.

Diploma thesis provides a deeper look on the phenomenon of financial crisis in the context of social documentary photography. The core of the thesis lays in comparing FSA in 1930´s and contemporary projects which are focused on economic crisis. Apart from analyzing work of selected FSA authors I do also focus on Meith&Hagel´s work and August Sander´s photographs. In second part of the thesis I am exploring new forms of social photography in contemporary world. I am describing work of three different authors reflecting nowadays financial situation with the help of fine art photography.

The main focus of the thesis is the determination and discussion of factors affecting the developement of harmonic field. The main factors are the importance and significance of individual tones and chords, their mutual influencing and organization, and their relationship to the time component of the composition. I attempt to find out how can these factors help us to comprehend the harmony of composition. I define the general tectonic scheme, that is related to the theory of harmonic field and I consider it to be its extension. The second part of the work is focusing on traditionally used terms and I´m trying to discuss how the determined factors manifest in them. I pay attention to the terms of the common-practice harmony and also to the modern harmony. I?m exploring the ideas of Miroslav Filip (The Regularities of Developement of Common-Practice Harmony), Karel Janeček (The Foundations of Modern Harmony, Tectonics) and Vladimír Tichý (Harmonic Field). The third part of the work contains three analysis of various pieces of diverse composers (Mozart, Webern, Feldman). I´ve tried to analyse these compositions on the basis of foregoing premises so I could prove the applicableness of my thoughts.