The thesis deals with the influence of the context of the melancholic film, in which our subjective perception of the film is formed. While the film itself does not tell us anything true, we can extract the truth from it through our interpretations and appropriate criticism. Through the cultural-historical treatment of the development of cinema and the film image, I relate to modern film art, into which I further introduce the concept of melancholy, which has stirred spirits in art for at least half a millennium, and interest in it has existed since antiquity. The core of the thesis consists of two chapters. The first chapter focuses on the development of the film spectacle itself. This is then presented in subchapters on the development of cinematography, the ontology of the photographic image and the specifics of cinema. The second chapter is focused on melancholy, and in the sub-chapters I first present the concept of melancholy, its construction in contemporary art, and last but not least, I provide an analysis of specific examples of films.
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