Čustva na filmskem platnu: Čustva kot najpomembnejši pripovedni element filmskega režiserja

Champaigne, David (author)

V pisni obliki magistrskega dela pišem o pomembnosti čustev v procesu filmskega ustvarjanja. Prišel sem do predpostavke, da so čustva najpomembnejši pripovedni element filmskega režiserja. Ob refleksiji procesa realizacije kratkega igranega filma Samorastnik raziskujem pomembnost čustev v vseh fazah filmskega ustvarjanja in ugotavljam, kje sem naredil napake, zakaj je do njih prišlo in kako so vplivale na čustveni potencial filma. V jedru magistrskega dela raziskujem proces filmskega ustvarjanja: pisanje scenarija, sestavljanje igralske zasedbe, igralske vaje, snemanje in postprodukcija. Vsakega izmed korakov podrobno analiziram iz zornega kota čustev. Opisujem, kako so potekale posamezne faze, in vključujem samorefleksijo svojega režijskega dela ter njegov vpliv na čustveno podobno filma. V magistrskem delu ugotavljam, kako zapleten proces je filmsko ustvarjanje in delo filmskega režiserja. Prišel sem do zaključka, da noben ustvarjalni proces ni enak. To je pot, na katero filmski režiserji stopajo vsakič znova, in upajo, da bodo lahko gradili na preteklih izkušnjah.

• Language: Slovenian
• Keywords: čustva, igralec in režiser, ustvarjalni agens, avtorska suverenost, proces, neznano
• Work type: Master's thesis/paper
• Organization: AGRFT - Academy of Theatre, Radio, Film and Television
• Year: 2026
• PID: 20.500.12556/RUL-182598
• Publication date in RUL: 18.05.2026

Secondary language

• Language: English
• Title: Emotions in Film: Emotions as the Director's Primary Storytelling Element

Abstract

In the written part of my master’s thesis, I examine emotions as the most important storytelling element of a film director. Through a self-reflection on the process of producing the short fiction film Self-Sown, I explore the significance of emotions across all stages of filmmaking, and identify where I made mistakes, why they occurred and how they affected the film’s emotional potential. At the core of the thesis, I analyse each phase of the filmmaking process: screenwriting, casting, rehearsals, shooting and post-production. I examine every stage in detail through the lens of emotion. I describe how each phase unfolded and provide a self-reflection on my directing practice, as well as how it influenced the film’s emotional landscape. Throughout the thesis, I come to recognize the complexity of the filmmaking process and the work of a film director. I conclude that no creative process is ever the same; it is a path that film directors begin anew each time, hoping that past experiences enable growth.

• Keywords: emotions, actor and director, touchstone, authorial sovereignty, process, the unknown