Japonsko v Brně
Diplomová práce se skládá ze dvou ástí dokumentárního filmu a teoretického zakotvení. Dokument Japonsko v Brn je portrétem dvou osob, kteí žijí na hranici dvou zcela odlišných kultur japonské a eské. Teoretická ást se zabývá stejným tématem z pohledu sociologie, psychologie, historie a kulturní antr...
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| Další autoři: | |
| Typ dokumentu: | VŠ práce nebo rukopis |
| Jazyk: | Čeština |
| Vydáno: |
2006.
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| Témata: | |
| On-line přístup: | http://is.muni.cz/th/43538/fss_m/ |
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| 242 | 1 | 0 | |a Japan in Brno |y eng |
| 245 | 1 | 0 | |a Japonsko v Brně |h [rukopis] / |c Irena Štětinová. |
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| 500 | |a Vedoucí práce: David Kořínek. | ||
| 502 | |a Diplomová práce (Mgr.)--Masarykova univerzita, Fakulta sociálních studií, 2006. | ||
| 520 | 2 | |a Diplomová práce se skládá ze dvou ástí dokumentárního filmu a teoretického zakotvení. Dokument Japonsko v Brn je portrétem dvou osob, kteí žijí na hranici dvou zcela odlišných kultur japonské a eské. Teoretická ást se zabývá stejným tématem z pohledu sociologie, psychologie, historie a kulturní antropologie. Teoretická ást je rozdlena na ti samostatné celky, které by mly tvoit uritý rámec pohledu na tento konkrétní dokument. První ást se zamuje na dokumentární film jako takový, tedy co si pod tímto pojmem mžeme pedstavit, jaké je jeho poslání, jak vzniká a jaké významy mže pinášet. Druhá ást pohlíží na samotné téma filmu z nkolika rzných perspektiv. Tetí ást zastešuje a spojuje ob pedchozí. Ve form režijních poznámek a teoretické reflexe shrnuje zpsob, jak krystalizovalo téma dokumentu Japonsko v Brn, jak se postupn mnilo v píbh a jaká úskalí bylo nutné bhem natáení pekonat. |% cze | |
| 520 | 2 | 9 | |a The whole diploma work consists of two separate parts, documentary film and theoretical thesis. In the documentary film called "Japan in Brno" we can see two life stories captured by movie language. The theoretical part deals with the same problem from point of view of sociology, psychology, history and cultural anthropology. Theoretical part is separated into three sections, which should build up a complex framework of the whole work. The first one is aimed at theory of what we can call documentary films. What is its purpose, how it is formed and what it can bring to us. The second section is about our concrete issue from the view of different perspectives. The last, third section, shows how was "Japan in Brno" captured, about many choices main characters, episodes and relations. It deals with the problems that had to be solved during the shooting to make the topic understandable. |9 eng |
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