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.

In our text we examine aesthetical impact of synchronized sound on film media.

The thesis is focused on the treatment of saw chains and their impact on the health parameters of chainsaw in terms of noise levels .It verifies the impact of construction of the chain type on noise level at the operator. Four types of saw chains were used for this measurement, namely chisel and semi-chisel teeth chains and PowerSharp chain. In the terms of occupational exposure limits according to government regulations about health protection, nosie and it's harmful effect on workers. The thesis describes possible medical complications and occupational diseases caused by excessive exposure to extremely loud sound. Using literature and electronical sources, marking of attenuation of noise on hearing protective equipment is described, from which the most used are shown. One of the chapters is devoted to the basic facts about physical nature of the sound waves. Except of description of three chain samples, this work also contains a noise measuring report with the ÚLDT measuring device. The problem of measuring the level of noise was solved by obtaining information from the literature and electronic sources. Conditions of this thesis were fulfilled with the help of my supervisor , who provided conslultations and czech government standards from which I could draw information.

This work describes contemporary methods for sound data classification and their application on sound recordings. This work deals with the selection of sound signal characteristics appropriate for concrete classification criteria followed by the exploration of proper types of artificial neural networks for this task. Different topologies and learnings algorithms of chosen neural networks are proposed and their performance in this classification is compared. Results compared are discussed and the best solution for sound data classificaton based on the content of recordings is chosen. This work also includes the chosen algorithms implementation into the software solution of my own.

The topic of this thesis is the permanently worsening situation in the area of loudness and dynamic range of sound signals being delivered to customers, both on classic media and in broadcast. It discusses the reasons and consequences of the current situation. These problems are global and they have impact on every listener and viewer. Extremely varying loudness of broadcast and terrifying state of some records being published at big media houses are a target of complaints for a long time. At the time of writing, solutions to improve the situation are finally emerging. These solutions are evaluated in the last part of this thesis and using them examples of improperly treated dynamics are given.

This study is trying to explore new american tv shows, that are smarter and more intelligent than traditional tv formats. In case of particular show it focuses sound design and its dramaturgy.

The thesis deals with the theme of awarding Oscars by the American film academy and films that were awarded in the sound categories. The first part is about the history of the Academy and the voting system concerning nominations and the winning films. The second part includes an analysis of the sound components of the chosen films that were awarded. The aim is to monitor the development of the sound during the course of almost 85 years and to reveal the secrets of the success.

The thesis explores the production of sound for animated film – its specifics as well as aspects of realization and of preparation and audio dramaturgy. It examines how they impact storytelling and the extent to which it is possible and useful to work with them from the very beginning of development of an animated film. The thesis also presents the practical and creative possibilities of cooperation between director and sound designer, alongside factors that may have a positive or negative influence in this regard. It draws on literary sources, interviews with the makers of animated films and knowledge acquired by the author in the field of directing and screenwriting of animated films. The thesis confirms the importance of the role of sound in animated film and its positive influence on the resulting quality of AV work (unless it has been omitted from the start of the filmmaking process). It summarizes the basic approaches that allow animators to work with sound in animated film as a fully-fledged narrative component.

The master's thesis deals with characterization of forms of subjective sound in film. The thesis is divided into several main parts. The first part is concerned with the principles of perception of sound and picture from the perspective of psychology, physiology and technology. Next part focuses on subjectivity in film itself. The aim of the remaining parts is to deal with subjectivisation of film sound, definition of Point of Audition (POA) term, analyzing categories of POA and the use of POA in the selection of films. Finally, a creative expression of POA is described and discussed. The analysis is accompanied by a DVD with clips.

The main topic of this thesis is restoration of optical soundtracks on films. The thesis includes rough introduction of historical evolution of technical means of film soundtracks as well as problematics of optical soundtrack reading, restoration of optical domains of soundtracks and postproduction restoration. Postproduction phase of the restoration process is demonstrated on a specific restoration example of the film "Ostře sledované vlaky" soundtrack. A brief discussion about specifics of the film restoration field is given at the end of the thesis.