Jan Hubacek: Mestska fantasy. Diplomova prace, 2011Jan HubacekDiplomová práce se zaměřuje na problematikou žánru městské fantasy v prostoru současné audiovizuální tvorby. Vývojem a definicí fantasy se zabývali dva polští spisovatelé. Stanisław Lem odvozoval fantasy od pohádky, Andrzej Sapkowski odkazoval k anglosaské mytologii. Jako rozhodující prvky městské fantasy byly určeny antiverismus, město, mytologický archetyp a schéma funkcí kouzelné pohádky Vladimira J. Proppa, s ohledem na nenulový součet a determinismus narušený stochastikou náhody. Na základě těchto předpokladů zkoumáme filmy Noční hlídka a Jak utopit Dr. Mráčka aneb Konec vodníků v Čechách. V závěru se autor zamýšlí nad příčinami absence filmů městské fantasy v české kinematografii a sdílí vlastní zkušenosti s tvorbou tohoto žánru.
This diploma thesis is focused on the issue of urban fantasy genre in contemporary audiovisual production. Two Polish authors were dealing with the evolution and definition of fantasy. Stanisław Lem deduced fantasy from a fairy tales, Andrzej Sapkowski refered to Anglo-Saxon mythology. As the decisive elements of urban fantasy genre were defined antiverism, town and city, mythological archetype and the scheme of functions of magical fairy tale from Vladimir J. Propp, with the respect to the non-zero summation and determinism disrupted by coincidence. Based on these preconditions are examined films Night watch and How to drown Dr. Mráček or The end of watermen in Bohemia. In conclusion the author ponders upon the causes of absence of urban fantasy films in Czech cinematography and shares his personal experience with the production of this genre.
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2. There are many possible user intents beyond just transactional, navigational and informational. Identifying intent shifts is important during core updates. Sites may need to optimize for new intents through different content types and sections.
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This presentation was uploaded with the author’s consent.
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Content Methodology: A Best Practices Report (Webinar)contentlyThis document provides an overview of content methodology best practices. It defines content methodology as establishing objectives, KPIs, and a culture of continuous learning and iteration. An effective methodology focuses on connecting with audiences, creating optimal content, and optimizing processes. It also discusses why a methodology is needed due to the competitive landscape, proliferation of channels, and opportunities for improvement. Components of an effective methodology include defining objectives and KPIs, audience analysis, identifying opportunities, and evaluating resources. The document concludes with recommendations around creating a content plan, testing and optimizing content over 90 days.
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Getting into the tech field. what next Tessa MeroThe document provides career advice for getting into the tech field, including:
- Doing projects and internships in college to build a portfolio.
- Learning about different roles and technologies through industry research.
- Contributing to open source projects to build experience and network.
- Developing a personal brand through a website and social media presence.
- Networking through events, communities, and finding a mentor.
- Practicing interviews through mock interviews and whiteboarding coding questions.
Google's Just Not That Into You: Understanding Core Updates & Search IntentLily Ray1. Core updates from Google periodically change how its algorithms assess and rank websites and pages. This can impact rankings through shifts in user intent, site quality issues being caught up to, world events influencing queries, and overhauls to search like the E-A-T framework.
2. There are many possible user intents beyond just transactional, navigational and informational. Identifying intent shifts is important during core updates. Sites may need to optimize for new intents through different content types and sections.
3. Responding effectively to core updates requires analyzing "before and after" data to understand changes, identifying new intents or page types, and ensuring content matches appropriate intents across video, images, knowledge graphs and more.
How to have difficult conversations Rajiv Jayarajah, MAppComm, ACCThe document provides essential tips on how to handle difficult conversations in a workplace setting, emphasizing the importance of preparation, environment, and timing. It highlights that many employees dread such conversations, often leading to avoidance and worsening situations. Ultimately, the guide aims to promote positive outcomes while maintaining professional relationships.
1. Argumentace
Téma klasický Hollywood jsme si vybrala, protože studuji obor Filmová věda. Klasický
Hollywood samozřejmě podstatně zapadá do oblasti, co studuji, protože je významný jak pro
obyčejného diváka, kterému jsou hollywoodské filmy servírovány každý den v programech
televizí, tak je Hollywood, ať už klasický nebo nový, významný z hlediska světového,
historického i formálního. Zvolila jsem si také toto téma, protože mi pomohlo zopakovat si
učivo na předcházející zkoušku a ještě jsi ho více rozšířit. Název byl jasný, protože jsem se
zaměřila jen na klasický Hollywood.
Anotace
Text informuje o klasickém Hollywoodu a vychází z formálního systému, který je v dnešní
době nejběžnější pro analyzování filmů. Zkoumá, čím se liší filmy z tohoto odvětví od
ostatních filmů, co je pro ně charakteristické, jak narace vede vyprávění a jaký styl je typický
pro tyto filmy. Text se hlavně opírá o dva nejvýznamnější filmové vědce - Kirsten
Thompsonovou a Davida Bordwella. Dále se opírá o kantora z Masarykovy univerzity z oboru
Teorie a dějiny filmu a audiovizuální kultury Pavla Skopala.
Klíčová slova
Klasický Hollywood, narace, syžet, fabule, vyprávění, styl
Klasický Hollywood
Klasický hollywoodský film je označován „klasický“ pro jeho dlouhou, stabilní a vlivnou
historii, a „hollywoodský“, neboť svou propracovanou podobu získal během studiové éry
v USA. Datuje se zhruba od roku 1917 do roku 1960. Klasický Hollywood je typický svou
narací. Tento dominantní mód narace převládá u většiny hraných filmů. Klasická narace je
téměř synonymem klasické hollywoodské narace.
Kirsten Thompsonová tvrdí, že v hollywoodském klasickém filmu se akce vytváří pomocí
jednotlivých postav jako jejich hybatelů. Příčinami děje mohou být sice jevy přírodní
(záplavy,zemětřesení) nebo společenské (instituce, války, ekonomická krize), ale vyprávění se
beztak soustředí na osobní psychologické příčiny:rozhodnutí,volby a vlastnosti postav.
Obvykle tento typ vyprávění usměrňuje něčí touha. Postava něco chce. Touha vytyčí cíl a
vývoj vyprávění bude s největší pravděpodobností zahrnovat proces dosažení tohoto cíle.
Kdyby touha dosáhnout cíle byla jediným přítomným prvkem, nebylo by nic, co by mohlo
postavu zastavit na její rychlé cestě k jeho dosažení. Ale v klasickém vyprávění působí
protikladné síly, které vyvolávají konflikt. Příčina a následek předpokládají změnu. Kdyby
postavy netoužili po tom, aby se stav věcí na konci vyprávění lišil od toho, jaký byl na
začátku, žádná změna by nenastala. Vlastnosti a touhy postav jsou tedy mocným zdrojem
příčin a následků.
2. Klasický hollywoodský film je velmi komunikativní, snaží se,aby divák lehce film pochopil. Jak
poznamenává Kirsten Thompsonová: „Syžet upraví chronologii fabule tak, aby řetězec příčin
a následků byl co nejnápadnější a čas se jím podřídil. Schůzka motivuje setkání postav
v konkrétním momentu. U deadlinu je zase trvání syžetu závislé na řetězci příčin a následků.
V klasickém narativním filmu se motivace snaží být od začátku do konce tak jasná a
kompletní, jak je to jen možné. To platí i pro tak fantazijní žánr, jakým je muzikál, v němž jsou
taneční a pěvecká vystoupení motivována buď emocemi postav, nebo divadelním
představením, které postavy v rámci filmu inscenují. Narace představuje svět fabule
v podstatě objektivně, ale může zapojovat jistý stupeň percepční nebo mentální subjektivity.
Klasický film se také kloní k dosti neomezené naraci. I když sledujeme jedinou postavu, části
filmu nám umožňují přístup k tomu, co postava nevidí, neslyší ani neví. Tento přístup je
překonán jenom v žánrech, které velkou měrou spoléhají na záhadu, jako jsou třeba
detektivky, spoléhající na jakousi omezenost v rozsahu informací.“ Příjem informací je
zajímavě řešeno v Občanu Kanovi jak píše Jan Lipšanský: „Orson Welles nechává diváka
pátrat s sebou. Předkládá mu všechny údaje a nechává, aby si je sám zpracoval a analyzoval -
svým způsobem to připomíná detektivku, kdy sice na začátku není vrah, ale jedno slovo, ale
přesto se díky tomu rozvíjí zajímavé pátrání.“
Další typickou vlastností pro klasický film je jejich vysoká míra uzavřenosti. Podle Kisrten
Thompsonové tyto filmy ponechávají jen nepatrné množství nezodpovězených otázek a snaží
se s konečnou platností dovršit kauzální řetězce. Obvykle jsme informování o osudu každé
z postav a dozvíme se řešení každé záhady i výsledek každého konfliktu. I tady ovšem platí,
že narativní forma jako taková žádný z těchto rysů nezbytně nevyžaduje. Neexistuje nic, co
by mohlo filmaři zabránit v zobrazení „mrtvého času“ neboli narativně nemotivovaných
intervalů mezi důležitými událostmi. Syžet, který filmař vytvoří, může též zpřeházet
chronologii fabule a učinit kauzální řetězec více matoucím.
Dalším charakteristickým znakem pro klasický hollywoodský film je, že má dvě linie zápletky.
Staigerová argumentuje proti tezi o hybridizaci žánrového hollywoodského filmu coby
příznaku tzv. postklasického filmu tím, že jsou zpravidla přítomné dvě zápletky, přičemž
„klasičnost" této podvojnosti spočívá v tom, že tyto linie jsou na sobě závislé a vzájemně se
ovlivňují. Linearita – třebaže podvojná – je zdůrazňována jako charakteristický rys klasické
narace, jak píše Bordwell: „(...) klasická scéna buďto pokračuje v rozvíjení vztahů příčiny a
následku v souvislosti s předchozí scénou, nebo je uzavírá a otevírá nové kauzální linie pro
další rozvíjení. Alespoň jedna linie akce musí zůstat neuzavřená, aby motivovala přechod k
další scéně (…) Díky tomu je možné hovořit o "linearitě" klasické konstrukce (…) Namísto
komplexního proplétání kauzálních linií (jako u Rivetta) nebo jejich náhlého přerušení (u
Antonioniho, Godarda či Bressona) je klasický Hollywood prodlužuje v hladké, pečlivé
linearitě." Kauzální řetězec s proplétajícími se liniemi akce podle Bordwella bez problémů
zvítězil nad paralelismem a stal se základem klasického filmu.
3. Klasický film využívá tzv. neviditelný styl, kdy stříhá například záběr-protizáběr při
rozhovorech, kamera a střih se snaží být co nejrealističtější a nenápadný. Pavel Skopal tvrdí,
že „hladkost" klasického stylu umožňuje plynulé sledování děje, skrývá časové a prostorové
mezery, vylučuje takové prvky, které upozorňují na samotný proces vyprávění (typické je
např. striktní vyloučení pohledu postavy do kamery). Škála stylistických prostředků je jasně
vymezena (tj. určité typy svícení, úhlů a pohybů kamery, velikosti záběrů apod. - např. záběr
z ostrého nadhledu nebo podhledu je možný jen výjimečně a vyžaduje žánrovou nebo
kompoziční motivaci).
Použitá literatura:
1. BORDWELL, David a Kristin THOMPSON. Umění filmu: úvod do studia formy a stylu. 1.
vyd. Praha: Akademie múzických umění v Praze, 2011, 639 s. ISBN 9788073312176.
2. SKOPAL,Pavel. Evropa a Hollywood: Spletitá historie jednoho vztahu.
Cinepur[online]. [Sdružení přátel Cinepuru] 2002, roč.9,č.23-24[cit.2012-14-12].
Dostupné z: http://cinepur.cz/article.php?article=20¨
3. SKOPAL,Pavel. Některé narativní tendence současného hollywoodského filmu.
Cinepur[online]. [Sdružení přátel Cinepuru] 2005, roč.12,č.40[cit.2012-14-12].
Dostupné z: http://cinepur.cz/article.php?article=851
4. 4. DVDextra:Občan Kane[online]. DVDextra, [vid.2011-07-10], [cit.2012-14-
12],dostupné z: http://www.dvdextra.cz/dvd-recenze/obcan-kane.html
1.zdroj:
-David Bordwell a Kirsten Thompsnová jsou dlouholetí filmoví odborníci
-tuto knihu můj učitel Základů teorie filmu bere jako stěžejní
-Umění filmu se zaměřuje na celkovou filmovou historii a všechny úhly jak lze na film
nahlížet(formální systém,narace,styl),takže si myslím,že je adekvátní k tématu
-setkala jsem se i s jinými jejich knihami,například Breaking the glass,které jsou stejně
kvalitní
-setkala jsem se s tím,že tyto dva autory citují moji kantoři ve svých pracích, tito
autoři jsou velmi významní pro filmový svět
2.+3. zdroj:
-Cinepur je uznávaný časopis
-patří k nejvýznamnějším časopisům o filmu v ČR
-autor článků je můj kantor,podle mého názoru dost způsobilí a informovaný o
problematice
-autor článků napsal více jak 20 knih o filmu
-autor v roce 2006 ukončil úspěšně doktorské studium na Ústavu filmu a
audiovizuální kultury na Masarykově Univerzitě v Brně
4.zdroj:
-zdroj není tolik kvalitní,ale chtěla jsem názor základně informovaného člověka o
filmové terminologii
-přes nižší kvalitu mi přišla analýza dostatečná k uvedení příkladu o informovanosti
narace
- Autor-Jan Lipšanský,napsal přes sto recenzí, takže je nejspíš zkušený autor
-internetový časopis se věnuje pouze filmům
-chtěla jsem obyčejný časopis, aby se lišil od Cinepuru