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Z Filmu Do Televize Diplomová Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér rozhlasové a televizní dramaturgie a scenáristiky Z filmu do televize (Transformace klasických žánrových snímků v televizní seriály) Diplomová práce Autor práce: BcA. Jakub Votýpka Vedoucí práce: doc. Mga. Marek Hlavica, Ph.D. Oponent práce: prof. Mgr. Jan Gogola Brno 2017 Bibliografický záznam VOTÝPKA, Jakub. Z filmu do televize: Transformace klasických žánrových snímků v televizní seriály *From movies to the TV: Transformation of classical genre films into the TV series+. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2017. 80 s. Vedoucí diplomové práce MgA. Marek Hlavica, PhD. Anotace Diplomová práce „Z filmu do televize“ pojednává o tom, jakým způsobem se z klasických žánrových snímků stávají televizní seriály. Spoléhání se na známou značku je v posledních trend při vymýšlení nových formátů. Na vybraných příkladech pak práce ukazuje, jakým způsobem tvůrci postupují při adaptování těchto filmů do formátu seriálu a jaké rozdíly z toho plynou. Annotation Diploma thesis „From movies to the TV“ explores how classic movies are becoming TV series. In the last couple of years, relying on a well-known franchise have bekam a trend when it comes to making a new TV series. On a few specific examples the thesis shows, what it takes to transform the movies into the TV series and the differences between these two mediums. Klíčová slova Film, TV seriál, Terminátor, Hannibal, Křižovatka smrti, akční, sci-fi, horor, proměna Keywords Film, TV series, Terminator, Hannibal, Rush Hour, action, sci-fi, horor, transformation Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval/a samostatně a použil/a jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a používána ke studijním účelům V Brně, dne 31. srpna 2017 Jakub Votýpka Poděkování Na tomto místě bych rád poděkoval svému vedoucímu práce za cenné rady a usměrňování mého humoristického přístupu k pojetí diplomové práce, mamce za podporu při studiu a při životě a Evě za to, že je se mnou, i když já se sebou nejsem. Obsah Úvod ............................................................................................................................ 7 1.Terminátor: Příběh Sarah Connorové…………………………………………………………………. 9 1.2 Vývoj filmové série Terminátor………………………………………………………………………… 9 Terminátor (Terminator, 1984) ........................................................................... 9 Terminátor 2: Den zúčtování (Terminator 2: Judgement Day, 1991) ............... 11 Terminátor 3: Vzpoura strojů (Terminator 3: Rise of the Machines, 2003) ...... 12 Terminator Salvation (2009) ............................................................................. 14 Terminator Genisys (2015) ................................................................................ 14 1.3 Kontext vzniku seriálu……………………………………………………………………………………. 15 1.4 Dramaturgická/scenáristická koncepce seriálu................................................... 18 1.4. Napojení na děj filmu ..................................................................................... 21 1.5Proměny v seriálu……………………………………………………………………………………….. 23 1.5.1 Postavy ..................................................................................................... 23 Sarah Connorová ............................................................................................... 23 John Connor ...................................................................................................... 26 Vztah Johna a Cameron ..................................................................................... 28 Cameron ............................................................................................................ 30 Allison z Palmdale ............................................................................................. 31 1.6 Dějové linie, zápletky a témata………………………………………………………………………. 33 1.4.3 Režijní zpracování ......................................................................................... 35 2. Hannibal ................................................................................................................ 38 2.1Červený drak – kniha ............................................................................................ 38 2.2Filmová zpracování............................................................................................... 41 Červený drak (Manhunter, 1986) .......................................................................... 41 Mlčení jehňátek (Silence of the Lambs, 1991) ...................................................... 42 Hannibal (2001) ..................................................................................................... 44 Červený drak (Red Dragon, 2002) ......................................................................... 46 Hannibal – Zrození (Hannibal Rising, 2007) .......................................................... 47 2.3 Kontext vzniku seriálu ......................................................................................... 49 2.4 Dramaturgická/scenáristická koncepce seriálu................................................... 53 2.5Napojení na děj filmu ........................................................................................... 58 2.6 Proměny postav………………………………………………………………………………………………59 Hannibal Lecter ......................................................................................................... 59 Will Graham .............................................................................................................. 62 Vztah Willa a Hannibala ............................................................................................ 63 2.7 Proměny témat a zápletek .................................................................................. 66 2.8 Režijní zpracování ................................................................................................ 67 3. Křižovatka smrti ..................................................................................................... 70 3.1 Křižovatka smrti (Rush Hour, 1999) .................................................................... 70 3.2 Kontext vzniku seriálu, zpracování ...................................................................... 72 4. Závěr ...................................................................................................................... 76 5. Použité informační zdroje ..................................................................................... 77 5.1 Knižní zdroje ........................................................................................................ 77 5.2 Internetové zdroje ............................................................................................... 77 6. Seznam ilustrací .................................................................................................... 80 Úvod Tato magisterská práce se bude zabývat transformací populárních žánrových filmů v televizní seriály. Posledních několik let se velmi rozmohl trend adaptování filmů do televizního média a je důležité tento fenomén popsat. Rozhodli jsme se vybírat filmy a seriály tak, aby každý z nich byl výrazně odlišný. Proto jsme vybrali tři různé žánry (akční sci-fi, horor/psychologický a komedi), na kterých ukážeme, jakým způsobem tvůrci pracují s původními předlohami a jakým způsobem je pro potřeby televizního média uzpůsobili. Předmětem mého výzkumu budou především dvě slavné filmové značky, které byly nedávno převedeny do televizní podoby. První je Terminátor, který se poprvé objevil na obrazovkách v roce 2007, druhou pak Hannibal, navazující na knihy Thomase Harrise a dle nich vytvořené filmy. Na převádění filmů do seriálu není nic nového. Poprvé se toto objevilo dokonce už v 50. letech minulého století, kdy byla do podoby televizního seriálu adaptována legendární Casablanca. V letech sedmdesátých se pak tento nápad rozšíříl více. Mezi filmy z té doby, u kterých bychom zřejmě nečekali televizní zpracování patří například Alice už tu nebydlí, Serpico, nebo Shaft. Během osmdesátých a devadesátých let se tento způsob vytváření seriálů dále rozšířil. Skutečný boom však zaznamenal až v novém tisíciletí, kdy téměř každá významnější filmová značka je podrobena seriálovému zpracování. Ať už se jedná o horory (Vymítač ďábla, Satan přichází), komedie (Křižovatka smrti), nebo krimi (Training Day), každý známější film je zpracován pro televizní diváky. Samozřejmě tento princip funguje i naopak, kdy jsou úspěšné seriály převáděné do filmové podoby (např. Sex ve městě). V posledních letech se pak staly populárními parodie slavných seriálů. Filmy jako Jump Street 21 a 22 nebo v posledních měsících Pobřežní hlídka si berou jména postav z původních seriálů, ale postavy zasazují do nového kontextu, který je většinou velice meta. To se projevuje hlavně účastí hvězd původního seriálu (v Jump Street si cameo zahrál Johnny Depp, v Pobřežní hlídce pak David Hasselhoff 7 a Pamela Anderson), a neustálým odkazováním na klišé, které původní seriál obsahoval. Z dnešního pohledu totiž ani Jump Street 21, ani Pobřežní hlídku není možné brát vážně. Tímto způsobem se pak původní seriál dostává k dalším generacím, které možná ani netušily, že něco jako Jump Street 21 původně existovalo v seriálové podobě. Já osobně čekám na adaptace Školy zlomených srdcí, Dawsonova světa a Odpadlíka. V naší práci se ovšem budeme zabývat
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