Monday 14 October 2019

Group 8

This essay explores how narrative can shift depending on different perspectives and narrative structure. Our goal was to make experimental work on how important the perspective and post-production work are to a viewer. For example how music can shift tone of video completely even put to contrast with what is happening on the screen.

An audiovisual essay concerning the central character of Dr.Mabuse (1922), after whom the movie is named. In the film, Dr.Mabuse takes on many roles, many personalities so it seems. In the essay we are concerned with who or what this man or figure really is. Is his true identity somewhere hidden behind his masks? … Or is he perhaps more than just a single character? We suggest that he symbolizes far more than just a psychopathic psychologist; rather he seems to impersonate the very evil of humankind itself - but let’s start, and see how he depicts the seven deadly sins…

Chaotic world of Daisies is reflected in the following video and its format. The result is collage-like visual work with original voice-over that tries to analyze main motifs and characters.

Group members: Karolina Hostovská, Gabriela Tomisová , Laura Mikolajczak, Rene Rumpold

Group 7

We made this audio-visual essay as a contribution to one of the most popular, outstanding and significant comedian in the Czech Republic, Vlasta Burian. His acting career started back in 1914 and continued until 1958. Burian built his acting on improvisation which is one of the reasons why every single one of his characters is so unique and loved in the Czech Republic. He used the same improvisation method not only in movies but also at the theater stage.
With all of this in mind, we put together a series of clips from some of the most popular Czech comedies with Vlasta Burian to demonstrate how this specific type of humor shaped some parts our Czech wit into a version we know today. All of the movies we used are from 1930s, filmed in black-and-white, apart from one that is from 1954 and already in colors.

Group members: Patricie Kouřilová, Anna Rehackova, Fabian Willsch, Phillip Burdich

Group 6

In 2013, german filmmakers wrote a manifesto called Fogma. Fogma is short for fuck dogma and works as a manual for low-budget mumblecore movie making. In this Audiovisual Essay Kateřina Kováříková and Lukas Voll showcase the mindset of Fogma using visuals from the first Fogma movie: Love Steaks by Jakob Lass.

An Audiovisual Essay by Renata Novotná and Thomas Chalupa about the contrast of life security and a precarious free way of Living. Capricious Summer is a dadaistic film about three aging males and their stereotypes by czech filmmaker Jiri Menzel.

Lighting is one of the most essential aspects of cinematography. The movie Nightcrawler by Dan Gilroy used lighting like only a few movies do. This Audiovisual Essay exhibits the effects of Nightcrawlers particular style of lighting.

Group members: Renata Novotna, Tomas Chalupa, Kateřina Kováříková, Lukas Voll

Group 5

Lotte Reiniger is a German silhouette artist from the 20th century. Her name is widely unknown although her work influenced many other directors. This audiovisual essay shortly introduces Lotte Reiniger and presents some movies and series that drew inspiration from her work.

Even though Iñárritu's movie "Birdman" seems to consist of only one continuous take, the plot spans several days, if not weeks. How is this, however, accomplished in a movie of only two hours without any apparent cuts?

Group members: Jakub Kraus, David Kravcenko, Lotte Schmerbach, Carla Ketterer

Group 4

Imagine you follow a young and confused man through the city of Berlin - for one day. What will you witness and what will you take away from this experience? Too often people forget how important details can be, and that a focus on them can change or mean more than any attempt to grasp „the big picture of life“. In our work on the movie „oh boy“, we wanted to get to the bottom of his struggles by looking at his seemingly small choices of everyday life. The significance of them can have a greater impact than you might think…

Watching a Wes Anderson movie is a special experience. His style of directing and producing moving pictures is almost like stepping out of reality and into another world. Having that in mind, this short introduction about his work and the stylistic devices he uses, invites the viewer to experience the „andersonness“ of his work in an intense and short way.

Group members: Stefan Kaleta, Vanessa Nagel, Flora Dinter

Group 3

In Disney movies, eyes are meaningful but mostly unnoticed by the viewers. There might be more to say about it as you may think. You should definitely watch it!

Have you ever paid attention to the side character Castlepool in Winnetou II? There might be more to say about him as you may think. You should definitely watch it!

Group members: Ales Zůbek, Jasmin Schachler, Cathrina Graw

Group 2

Two families on their way to California to find the American Dream of their times - work and new beginnings or beauty and fame. Will they find it?

It almost feels wrong to label the movie "Victoria" (2015) as a romance as it is so much more than that. Is it a thriller? Is it a drama? Is it a love story? Somehow it is all of the aforementioned things and yet it is something entirely unique, making it difficult to put it in a genre drawer. In spite of all the different facets this movie presents, the following video will analyze the theme of love in "Victoria" and how love is presented in it. Watch how the protagonist Victoria rambles through the streets of Berlin and ends up with a night to remember.

Group members: Bretislav Indrák, Kristina Slaveykova, Geesa Krieg, Maximilian Winter

Group 1

An integral part of Michael Haneke’s cinema is an investigation of the relationship between a film, its audience, and the responsibility of the filmmaker. He has repeatedly stated that he sees it as the filmmaker’s responsibility to confront the audience with the reality of the situations that a film depicts, taking audience seriously in this confrontation. This point can arguably be experienced most for the viewer in Haneke’s unconventional treatment of on-screen violence, which is an integral element of each of his films. This audiovisual essay will illustrate Haneke’s point and show that his movie Funny Games (1997) is an appeal to his audience as consumers of violence and his most elaborate demonstration of the responsibility that a filmmaker has when depicting violence on screen.

Group members: Dorotka Bachratá, Kevin Bornath, Jonas Noack