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Sex a Lucía: Dualita Reality a Fikce Jako Cesta Do Nitra Postav

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Sex a Lucía: Dualita Reality a Fikce Jako Cesta Do Nitra Postav Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Teorie a dějiny filmu a audiovizuální kultury Bc. Petra Andrýsková Sex a Lucía: Dualita reality a fikce jako cesta do nitra postav Neoformalistická analýza Bakalářská diplomová práce Vedoucí práce: Mgr. et Mgr. Marie Barešová Brno 2014 Prohlašuji, že jsem tuto bakalářskou diplomovou vypracovala samostatně a použila jen uvedených zdrojů. V Brně 15. května 2014 ........................................................ Petra Andrýsková Děkuji za podporu a rady své vedoucí Mgr. et Mgr. Marii Barešové a především své rodině za podporu během celého studia. OBSAH 1 Úvod .................................................................................................................................... 6 2 Teoretická a metodologická východiska reflexe filmu ....................................................... 7 2.1 Neoformalistický přístup k filmové analýze ............................................................... 8 2.1.1 Dominanta ............................................................................................................ 9 2.1.2 Narace – fabule a syžet ......................................................................................... 9 2.1.3 Prostředek, funkce a motivace ........................................................................... 10 2.1.4 Význam .............................................................................................................. 11 2.2 Historické mody narace ............................................................................................. 12 3 Ekonomický a kulturně-historický kontext ....................................................................... 13 3.1 Julio Medem .............................................................................................................. 14 3.1.1 Kariéra režiséra .................................................................................................. 15 3.2 Sex a Lucía ................................................................................................................ 15 3.2.1 Produkce ............................................................................................................. 15 3.2.2 Distribuce a uvádění ........................................................................................... 16 3.2.3. Recepce ............................................................................................................ 18 4 Neoformalistická analýza .................................................................................................. 20 4.1 Úvod k analýze .......................................................................................................... 20 4.2 Naratologická analýza ............................................................................................... 20 4.2.1 Žánrové konvence .............................................................................................. 20 4.2.2 Postavy ............................................................................................................... 22 4.2.3. Segmentace syžetu ............................................................................................. 24 4.2.3 Model vývoje syžetu .......................................................................................... 25 4.2.4 Narace ................................................................................................................. 28 4.3 Stylistická analýza ..................................................................................................... 33 4.3.1 Mizanscéna ......................................................................................................... 33 4.3.2 Záběr ................................................................................................................... 35 4.3.3 Střihová skladba ................................................................................................. 36 4.3.4 Zvuk a hudba ...................................................................................................... 38 5 Magický realismus ve filmu .............................................................................................. 40 6 Závěr ................................................................................................................................. 43 7 English Summary .............................................................................................................. 45 4 8 Zdroje ................................................................................................................................ 47 8.1 Prameny ..................................................................................................................... 48 8.2 Online zdroje ............................................................................................................. 48 8.3 Filmografické databáze .............................................................................................. 50 8.4 Citované filmy ........................................................................................................... 50 8.5 Analyzovaný film ...................................................................................................... 51 9 Obrazová příloha ............................................................................................................... 52 5 1 ÚVOD Julio Medem je výraznou postavou moderní španělské kinematografie. Od chvíle, kdy na sebe upozornil svým prvním celovečerním filmem Krávy (1992), ve svém díle reflektuje současnou společnost a především mezilidské vztahy skrze svou osobitou fantazijní optiku. Jeho svět je plný snů, vášně a fikce střetávající se s realitou. Ústředním tématem této práce bude Medemův film Sex a Lucía (2001), který můžeme považovat za vyvrcholení Medemovy autorské linky. Napříč jeho filmy se opakují symboly a formální prvky, jejichž použití zdokonaloval, až ve filmu Sex a Lucía dosáhl symbiózy, která mu zaručila divácký úspěch i uznání kritiků. Film svou estetikou i narativními postupy vytváří tenkou hranici mezi fantazií a realitou. To je podpořeno všudypřítomností sexuálních podtextů, jež tvoří svou fyzičností protiváhu procesům odehrávajícím se v myslích protagonistů. Snová atmosféra a subjektivní povaha jeho filmů je důvodem, proč je často popisována za pomoci charakteristik magického realismu. Jde především o literární proud, jeho rysy jsou však aplikovatelné i na vizuální a audiovizuální díla. Po analýze práce s realitou a fikcí proto budeme definovat rysy magického realismu ve vztahu k analyzovanému snímku. Obecnou tezí, která vysvětluje smysl analýzy tohoto filmu, je dokázání, že kinematografie Julia Medema pracuje s mystifikováním diváka, kterého směřuje k tázání se po podstatě věcí a neustálému zpochybňování reality. Jako konstrukční princip filmu budeme zkoumat princip duality, kterou můžeme chápat jako napětí mezi fikcionalizací reality a odrážením reality ve fantazii. K volbě tohoto filmu mě dovedla snaha ukázat, jakým způsobem je vytvářen onen pocit nejistoty a zároveň i okouzlení, který spojuje Medemovu tvorbu s magickým realismem. Osobně jsem při prvním zhlédnutí filmu byla fascinována nejen erotickým nábojem příběhu, lehkostí, s jakou postavy přijímaly příběhy a žily mezi fikcí a skutečností, ale také vizuální stránkou filmu. Neoformalistickou analýzu považuji za vhodnou metodu díky tomu, že je postavená na otázkách, které si v průběhu vyprávění klade divák, a je proto efektivním analytickým nástrojem. Druhá kapitola je proto věnována teoretickým a metodologickým východiskům filmu a především podstatě neoformalismu. Třetí kapitola se zaměří na kontext vzniku filmu a osobu režiséra Julia Medema. Čtvrtou kapitolu tvoří neoformalistická analýza filmu Sex a Lucía rozdělená na dvě části – na naratologickou a na stylistickou analýzu. Poslední kapitola je věnována pozici magického realismu ve filmu. 6 2 TEORETICKÁ A METODOLOGICKÁ VÝCHODISKA REFLEXE FILMU V této kapitole se budeme věnovat neformalistické analýze podle autorů Kristin Thompsonové a Davida Bordwella. Hlavními zdroji bude text Thompsonové „Neoformalistická filmová analýza: Jeden přístup, mnoho metod“ 1 z knihy Breaking the Glass Armor, poté kniha Umění filmu: úvod do studia formy a stylu, 2 kterou napsala Thompsonová spolu s Bordwellem a Bordwellovo dílo Narration in the Fiction Film.3 Kapitola třetí bude sloužit k zařazení filmu do kontextu autorovy tvorby, popsání jeho osobních i profesních motivací a inspirací. Důležitost tohoto přístupu zdůraznila a vysvětlila na základě nové filmové historie Barbara Klingerová ve svém textu Konečná a nekonečná historie filmu: rekonstruování minulosti v recepčních studiích.4 Okolnostem vzniku filmu Sex a Lucía se budeme věnovat ze tří různých perspektiv podle rozdělení filmového průmyslu na produkci, distribuci a uvedení. Toto rozdělení a důležitost popisu produkční a distribuční historie zahrnuli ve svém díle Film History: Theory and Practice Robert C. Allen a Douglas Gomery.5 Důležitou součástí této práce bude definice magického realismu, jehož prvky poté budeme identifikovat v díle Julia Medema. K definování nám poslouží kniha Maggie Ann Bowersové Magic(al) realism 6 a kniha Wendy B. Farisové a Loise Parkinsona Zamory Magical Realism: Theory, History, Community.7 Odborné informace týkající se tvorby Julia Medema čerpám z dostupných českých i zahraničních publikací. Důležitým zdrojem byla předmluva ke scénáři filmu Sex a Lucía, ve které Julio Medem objasnil,
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