20.500.12556/RUL-173195 Čisti in nečisti film: Raziskovanje kinematografskega realizma in manipulacije Total and impure film: Exploring cinematic realism and manipulation V diplomskem delu sem raziskovala teoretska izhodišča o čistem in nečistem filmu, s posebnim poudarkom na vprašanju filmskega realizma. V teoretičnem delu sem se poglobila v deli Kaj je film? (Bazin) in Zapiski o kinematografu (Bresson), analizirala sem njune ključne estetske in filozofske poudarke. Osrednje raziskovalno vprašanje je bilo usmerjeno v preučevanje, kako v praksi pristopiti k realizmu v filmu ter v katerih primerih so pristopi obeh smeri najbolj upravičeni oziroma učinkoviti. Posebno pozornost sem namenila vprašanjem kadriranja, trajanju kadra, uporabi reza ter stopnji manipulacije v postprodukciji. Na tej osnovi sem ugotovila, da Bazin in Bresson kljub navideznim razlikam nista nujno v nasprotju, temveč razvijata različni, a komplementarni viziji filmskega realizma. V praktičnem delu sem predstavila celoten produkcijski proces svojega kratkega igranega filma Noesis; od začetne ideje in oblikovanja scenarija, prek izdelave snemalne knjige, izbire kadriranja in snemanja, do oblikovanja zvočne podobe in končne montaže. Analiza lastne prakse mi je omogočila refleksijo in preverjanje teoretičnih izhodišč skozi ustvarjalni proces. In my thesis, I explored theoretical perspectives on pure and impure film, with a special emphasis on the issue of film realism. In the theoretical part, I delved into the works What is Cinema? (Bazin) and Notes on Cinematography (Bresson), I analyzed their key aesthetic and philosophical emphases. The central research question was focused on examining how to approach realism in film in practice and in which cases the approaches of both directions are most justified or effective. I paid special attention to the issues of framing, frame duration, use of cuts, and the level of manipulation in post-production. On this basis, I concluded that Bazin and Bresson, despite their apparent differences, are not necessarily in opposition, but rather develop different but complementary visions of film realism. In the practical part, I presented the entire production process of my short film Noesis; from the initial idea and script creation, through the creation of the storyboard, the choice of framing and filming, to the creation of the sound image and the final editing. Analyzing my own practice allowed me to reflect and verify theoretical starting points throughout the creative process. slikarstvo film kinematografija čisti film nečisti film realizem diplomska naloga painting film cinematography pure film impure film realism BA thesis true false false Slovenski jezik Angleški jezik Diplomsko delo/naloga 2025-09-13 09:01:11 2025-09-13 09:01:13 2025-11-05 03:50:57 0000-00-00 00:00:00 2025 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 34989 11556.pdf 11556.pdf 1 2F5F8AF70F802371F60EFED5F49E0338 f3d1d10804cc92cfe748cefabc2f3f5080bacdb8bbd30ea8ac70d4b42b267699 448617bc-906f-11f0-9328-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=217367 Rendic_DIPLOMSKI_FILM_Noesis2025_final.mp4 Rendic_DIPLOMSKI_FILM_Noesis2025_final.mp4 1 8DD302650A3F300FDE803C3DE9F9320B e4371768cc4a74207e400213527ea8e857f19b8fc996f2f88d5daf7207ff621c 20867c06-9946-11f0-9328-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=218558 Akademija za likovno umetnost in oblikovanje 0 0 0