I address the subject of experiencing and personating in my thesis. I try to capture principal Stanislavkij´s and Diderot´s theories in one capture but mainly I try to reflect upon my own experiences. I compare all my graduation stagings in the Disk theatre and I describe in individual chapters how I worked on particular characters, how I approaches my work, which expressive devices i chose etx.

Cílem této práce je pokusit se zauvažovat o složitém procesu podání barev při filmové výrobě z pohledu kameramana a obajsnit tím význam barev v souvislosti s kameramanskou profesí a ustanovením oboru kameramanství jako jedné z podob umělecké formy.

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.

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.

In this theoretical thesis I want to explore the interaction of theater and film. I do not want to be preoccupied with "filmed theater", but only with film adaptations of theatrical productions. Dramatic works became really often template for films, but what leads the creators of the movie to film the specific theatrical productions? How will the filmmakers be affected by existing artwork, and which path to take when theater and film have so many different ways of expression? What has the movie theater to offer, and what the film is able to borrow, take, or transform? And in this case,are there any rules?

This postgraduate thesis deals with the relationship between animated works and education. Main importance is given to the prior historical trends of educational animated works and to the question if are the animated works suitable for educational purposes. The thesis is divided to four chapters. First chapter depicts the historical development of educational animated works and briefly maps this area of animation. Second chapter analyzes specific characteristics of animation and abilities of its means of expression for educational use. Third chapter is a brief introduction to the cognitive psychology which offers valuable knowledge about functions of human mind. The center of attention is focused on attributes of human memory and process of learning, which are somehow related to the usage of animation. Fourth chapter sort of expands the third chapter and bases its conclusions on the work of American psychologist Richard E. Mayer. The subject matter are more practical ways how to use animation to enhance effective learning.

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 thesis Man as a Being in Extreme Situations. Methods of Stylized Authenticity in Contemporary Author Cinema analyzes five contemporary author films that show signs of realism, authenticity and create a documentary feel. It focuses on means and methods of creating the feeling of authenticity in the mentioned movies. It also focuses on characters in these films. All the characters in the context of the movies find themselves in extreme life situations that do not allow them much choice.

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.

This study focuses on structural analysis of narrative of the double journey film The Queen according to three types of structuring - classical three act structure, sequence approach and the hero's journey. Each of those methods is examining the story with regard to the fact that the film has two protagonists. It is also taking into consideration the possibility of adjusting these model structures to fit this particular story. The study concludes that each of those methods can be beneficial if used in service of the chosen theme.