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Michal Škamla Televízna Detektívka S Noirovými Prvkami

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Michal Škamla Televízna Detektívka S Noirovými Prvkami Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Michal Škamla (FAV / bakalárske prezenčné štúdium) Televízna detektívka s noirovými prvkami Neoformalistická analýza seriálu True Detective Bakalárska diplomová práca Vedúci práce: Mgr. Michal Večeřa Brno 2016 Prehlasujem, ţe som pracoval samostatne a pouţil len uvedených zdrojov. V Brne dňa 27. apríla 2016 ................................................................ Michal Škamla Týmto by som rád poďakoval Mgr. Michalovi Večerovi, Ph.D. za trpezlivosť pri vedení mojej práce, taktieţ za všetky cenné rady, poznámky a korekcie textu. Tieţ by som rád poďakoval celej inštitúcii FAV a jej zamestnancom, ktorý formovali môj kritický názor na filmy po dobu troch rokov. Na záver by som rád poďakoval svojej rodine a priateľke za poskytnutie dostatku času a priestoru pri písaní tejto práce. Ďakujem. OBSAH 1. Úvod.........................................................................................................................5 2.Teoreticko-metodologický rámec............................................................................7 2.1 Neoformalistická analýza...................................................................................7 2.2 Dominanta..........................................................................................................10 3. Kultúrne historický kontext....................................................................................12 3.1 Quality TV, základné charakteristiky, história..................................................12 3.2 Marketingová stratégia televízie HBO ako Premium channelu........................14 3.3 Nordic Noir – definícia, seriály.........................................................................15 3.4 Film-noir.............................................................................................................16 4. Neoformalistická analýza seriálu True Detective...................................................18 4.1 Narácia................................................................................................................18 4.1.1 Zhrnutie fabuly.................................................................................................18 4.1.2 Naratívna štruktúra...........................................................................................20 4.1.2.1 Rozčlenenie časových rovín..........................................................................23 4.1.3 Zhrnutie.............................................................................................................27 4.2 Vnútorné normy...................................................................................................28 4.2.1. Analýza hlavných postáv Rusta Cohla a Martyho Harta.................................28 4.2.2. Podobnosti protagonistov True Detective s noirovými postavami..................31 4.2.3 Zhrnutie..............................................................................................................34 5. Záver...........................................................................................................................35 6. Conclusion..................................................................................................................37 7. Zdroje..........................................................................................................................39 7.1 Literatúra................................................................................................................39 7.2 Periodiká................................................................................................................40 7.3 Internetové zdroje..................................................................................................40 8. Filmografia..................................................................................................................42 8.1. Citované filmy......................................................................................................42 1. Úvod Za tému svojej bakalárskej práce som si zvolil neoformalistickú analýzu prvej série detektívneho seriálu True Detective (2013), z produkcie televíznej stanice HBO. Seriál pojednáva o dvojici detektívov pátrajúcich po záhadnom páchateľovi (resp. páchateľoch) pedofilných vráţd v americkej Louisiane. K jeho voľbe ma viedlo hlavne to, ţe ako jeden z prvých seriálov môţe byť označovaný ako autorský1 prípadne tieţ sprituálny2 – t.j. sa vyznačuje výrazným rukopisom reţiséra Caryho Fukunagu a spisovateľa Nica Pizzolatta, pričom jedným z najvýraznejších znakov je to, sa snaţí invenčne pristupovať k mnohým ţánrom v zmysle narúšania a variovania ich konvencií. Hlavným motívom síce je vyšetrovanie (t.j. detektívka), no seriál pracuje (najmä v svojej druhej polovici) aj s prvkami ďalších ţánrov ako napríklad thriller, horor, alebo tieţ subţánrami procedurálnou drámou3 či buddy movies.4 True Detective so ţánrami pracuje rôznymi spôsobmi, niekedy ich stereotypy vyuţíva k diváckejšej forme rozprávania inokedy ich zas naprieč epizódami radikálne mení (z procedurálnej detektívky je horor). Alebo ich naopak podvracia ich a hrá sa z ich zauţívanými stereotypmi. Vzniká tak nezvyčajná korelácia prístupov, ktorá uspokojuje oba uspokojuje takmer všetky typy publika, čo dokazujú na jednej strane ratingy5 na strane druhej pozitívne priatie kritiky. Ďalšou zaujímavou a nezvyklou skutočnosťou je ţe seriál True Detective zamýšľaný ako detektívna seriálová antológia. Čo znamená, ţe kaţdá ďalšia séria sa bude venovať novému prípadu v inom meste a taktieţ v nej budú hrať aj iní herci. To z neho robí spolu so 1 U väčšiny televíznych seriálov funguje proces natáčania tak, ţe sa reţiséri epizód striedajú. Za autora sa tak nepovaţuje ako u filmu jeho reţisér, ale tzv. Creator – autor konceptu, námetu, ktorý na projekt dohliada. Túto konvenciu narúšajú seriály ako True Detective, The Knick <http://www.csfd.cz/film/360373-knick-doktori- bez-hranic/prehled/> (cit. 26. 2. 2015), Southcliffe <http://www.csfd.cz/film/347846-southcliffe/prehled/> (cit. 26. 2. 2015), Top of the lake <http://www.csfd.cz/film/318561-na-jezere/prehled/> (cit. 26. 2. 2015), P'tit Quinquin <http://www.csfd.cz/film/287289-malej-quinquin/> (cit. 26. 2. 2015), alebo Olive Kitteridge <http://www.csfd.cz/film/380873-olive-kitteridgeova/prehled/> (cit. 26. 2. 2015), v ktorých je reţisérom všetkych epizód jeden reţisér. V prípade True detective sa jedná o antológiu, čo znamená, ţe seriál bude mať niekoľko sérií, avšak s uzatvoreným dejom. Zaujímavé však je, ţe jeho druhú divácky a kriticky menej úspešnú sériu True Detective uţ reţírovalo viacero autorov. To z časti môţe potvrdzovať domnienky, ţe práve jeho autorská celistvosť mohla za jeho úspech. 2 <http://jaysanalysis.com/2014/08/30/true-detective-season-1-esoteric-analysis/> (cit. 26. 2. 2015). 3 Je typ filmu (seriálu), v ktorom prebieha vyšetrovanie zločinu. Dej sa sústredí na priebeh vyšetrovania vo všetkých jeho atribútoch (forenzný výskum, vyšetrovanie v hi-tech laboratóriách atp.). Dôraz sa pritom kladie primárne na vyšetrovanie, súkromné problémy detektívou sú redukované umiestnené do pozadia. 4 Filmový subžáner, kde spolupracujú dve postavy (väčšinou toho istého pohlavia – prevažne mužského). Sú to zvyčajne kontrastné charaktery, čo sĺuži predovšetkým k zdynamizovaniu deja a jeho zatraktívneniu. Postavy sú mnohokrát odlišnej rasy (beloch, černoch). 5 <http://www.hollywoodreporter.com/live-feed/tv-ratings-hbos-true-detective-683257> (cit. 26. 2. 2015); <http://collider.com/david-fincher-tv-david-lynch/> (cit. 26. 2. 2015). 5 seriálom Fargo (2014)6, American Horror Story (2011)7 jedného z priekopníkov takéhoto typu televíznej produkcie – akýchsi epizodických obdôb jedného veľmi dlhého filmu, o dĺţke zhruba sedem aţ desať hodín. Divák má vďaka uzavretému príbehu pocit, ţe sleduje film, rozsahom blízky knihe, ktorý ale dokáţe funkčne pracovať so svojou epizodičnosťou. A to umiestňovaním klasických cliffhangerov8 na konci epizód, alebo uzavretím nejakého dramatického oblúka v rámci epizódy. True Detective navyše vyuţíva epizodičnosť k plynulejšiemu prechodu ţánrovej polohy seriálu. Prvú polovicu série autor komponuje ako existenciálnu detektívku (filozofické rozhovory medzi postavami o podstate ľudskho bytia, pomalé tempo vo vývoji seriálu a detektívnej zápletky), no v polovici druhej uţ túto polohu upozaďuje a seriál sa začína intenzívnejšie venovať len samotnému prípadu, pričom tvorcovia doň zakomponovali aj prvky charakteristické pre horror ci thriller. Moja práca je teda rozdelená do štyroch častí. V prvej, teoreticko-metodologickej, sa pokúsim definovať, čo je to neoformalistický prístup filmovej analýzy, vysvetlím kľúčové pojmy ako dominanta, narácia, syţet, či fabula. V kultúrne historickej časti čitateľovi stručne ozrejmím v čom marketingová stratégia stanice HBO vyhovovala práve True Detective. Ďalej sa pokúsim čiastočne načrtnúť históriu samotného seriálu a charakterizovať detektívny seriál jeho hlavné znaky. Nakoľko som presvedčený, ţe tvorcovia True Detective čerpali svoje inšpirácie v pochmúrnych detektívnych seriáloch severnej eúropy, čitateľovi načrtnem aj stručnú históriu subţánru nordic noir a jeho predchodcu film noir. V hlavnej časti práce sa budem venovať samotnej neoformalistickej analýze, kde demonštrujem naratívnu štruktúru seriálu a porovnám postavy True Detective s inými noirovými postavami. V závere práce potom zosumarizujem svoje poznatky a porovnám ich s mojími predpokladmi. 6 <http://www.csfd.cz/film/360062-fargo/>
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