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Vyprávěcí Modus Akčního Filmu Uzavřené Lokace

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Vyprávěcí Modus Akčního Filmu Uzavřené Lokace Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Filip Šula (FAV, bakalářské prezenční studium) Vyprávěcí modus akčního filmu uzavřené lokace Bakalářská diplomová práce Brno 2014 Vedoucí práce: Mgr. et Mgr. Marie Barešová Prohlášení: Prohlašuji, že jsem diplomovou práci vypracoval samostatně a za využití všech uvedených pramenů a literatury. V Brně dne 29. 7. 2014 ………………………………………. vlastnoruční podpis Poděkování: Na tomto místě bych rád poděkoval vedoucí práce, Mgr. et Mgr. Marii Barešové, za věcné připomínky, cenné rady a nekonečnou trpělivost a také Mgr. Radomíru D. Kokešovi, Ph.D., a Mgr. Alešovi Merenusovi, Ph.D., za přínosné konzultace. Také děkuji Bc. Marku Slovákovi za pomoc při výběru teoretických nástrojů. Obsah 1. Úvod ................................................................................................................................................ 1 2. Pravidla AFUL .............................................................................................................................. 3 2.1. Fokalizace ............................................................................................................................... 5 2.2. AFUL jako model .................................................................................................................. 6 3. Smrtonosná past ............................................................................................................................ 8 3.1. Ustavení lokace ...................................................................................................................... 8 3.2. Subsvěty .................................................................................................................................. 9 3.3. Sběr informací ..................................................................................................................... 11 3.4. Závěr ..................................................................................................................................... 13 4. Riddick ......................................................................................................................................... 14 4.1. Ustavení prostoru ................................................................................................................ 15 4.2. Rozdílnost přijímání informací .......................................................................................... 18 4.3. „Přebíhající“ fokalizace, síla dvou filtrů ........................................................................... 20 4.4. Závěr ..................................................................................................................................... 21 5. Přepadení 13. okrsku .................................................................................................................. 22 5.1. Ustavení prostoru ................................................................................................................ 23 5.2. Sloučené subsvěty ................................................................................................................ 23 5.3. Nedostatek informací jako nevýhoda i ochrana ............................................................... 24 5.4. Jednostranná fokalizace ...................................................................................................... 25 5.5. Závěr ..................................................................................................................................... 25 6. Závěr práce .................................................................................................................................. 26 7. English summary ......................................................................................................................... 28 8. Seznam použitých zdrojů ............................................................................................................ 29 8.1. Knihy a studie ...................................................................................................................... 29 8.2. Filmografické a AV databáze ............................................................................................. 29 9. Filmografie ................................................................................................................................... 30 9.1. Analyzované filmy ............................................................................................................... 30 9.2. Citované filmy ...................................................................................................................... 30 1 1. Úvod V rámci žánru akčního filmu rozlišuji tzv. akční film uzavřené lokace. Akčním filmem rozumím žánrový snímek, využívající akci (tj. boj skupiny postav s jinou skupinou postav za účelem dosažení určitého cíle, což zahrnuje fyzické konfrontace, přestřelky či honičky) jako jeden z dominantních prvků, díky němuž hrdina či skupina hrdinů v rámci klasické narace podle Davida Bordwella splní určitý cíl navzdory jednomu či více padouchům.1 Vyprávěcí modus uzavřené lokace je třeba určit a popsat jeho funkce a konvence. Důležité je nejprve jej vymezit v žánru akčního filmu, v němž se tento modus v určitých pravidlech objevuje a v jehož rámci bude zkoumán. Akční film, jako každý jiný žánrový film, se podle Davida Bordwella vyznačuje sdílenými žánrovými konvencemi. Ty Bordwell popisuje následovně: Jisté prvky syžetu se mohou stát konvencemi. V detektivce počítáme s vyšetřováním; syžet s motivem msty je běžný u westernů; muzikál si najde způsob, jak se dostat k situacím, v nichž se zpívá a tančí, gangsterka se obvykle věnuje zrodu a pádu gangstera a jeho souboji s policií a konkurenčním gangem. Očekáváme, že životopisný film (biopic) bude zahrnovat nejdůležitější epizody ze života hlavní postavy. Jako další žánrové konvence mohou sloužit charakteristické filmové postupy. V hororech a thrillerech bývá obvykle ponuré osvětlení. Akční filmy často spoléhají na rychlý střih a zpomalené násilné scény.2 V souladu s tímto východiskem, můžeme akční film vnímat jako snímek, v němž hrdina musí dospět ke svému cíli násilnou cestou, tedy překonat nástrahy, zahrnující padoucha a projití série životu nebezpečných situací. Analyzované filmy tyto parametry splňují – ve všech se nachází padouch, stojící svými zájmy proti hlavnímu hrdinovi, násilné scény i životu nebezpečné situace. Tato vymezení jsou výsledkem určitého diváckého i kritického očekávání. Přepadení 13. okrsku3 i Smrtonosná past jsou označeny za akční filmy právě na základě očekávání akce, konfliktů a rozdělení na kladné a záporné hrdiny. Podle Ricka Altmana se žánry mimo jiné ustavují právě na základě diváckého přijetí. To znamená, splňuje-li snímek určité žánrové konvence, vnímané divácky jako právě jemu příslušející, může být označen jako akční film, nehledě na to, kolik případných konvencí jiného žánru sdílí. Zařazení do žánru se týká i propagace4 – a tak přestože například Přepadení 13. okrsku nepřekypuje akcí po celou dobu trvání projekce, trailer5 na tento film ukazuje právě ty scény, (které bychom jako akční mohli pojmenovat (střelba, běh, násilí). Studio Turtle Releasing, zodpovědné za distribuci filmu v USA, jej díky cílení na tyto akční scény vymezilo jako akční film a vytvořilo očekávání publika stran tohoto žánru. Stejně tak trailer6 na Smrtonosnou past graduje do čím dál většího množství přestřelek, kaskadérských kousků Bruce Willise či výbuchů. Srovnatelnou taktiku užívá trailer7 na Riddicka, jenž mísí hned několik žánrů dohromady (sci-fi, horor, western). 1 Srov. Bordwell, David (1985): Narration in the Fiction Film. Madison: University of Wisconsin Press, s. 156- 161. 2 Bordwell, David – Thompsonová, Kristin (2011): Umění filmu. Praha: AMU, s. 425. 3 <http://www.timeout.com/london/film/assault-on-precinct-13-1976> (cit. 20.7. 2014) 4 Viz Altman, Rick (1999): Film/Genre. London: British Film Institute, s. 15. 5< https://www.youtube.com/watch?v=BaJR2zlnp7o> (cit. 20.7. 2014) 6 <https://www.youtube.com/watch?v=2TQ-pOvI6Xo> (cit. 20.7. 2014) 7 < https://www.youtube.com/watch?v=zH3O-CeZckE> (cit. 20.7. 2014) 1 Mezi konvence akčního filmu tak patří obecně konflikt, kdy jasně určený hrdina po něčem touží, čímž se vytyčí jeho cíl. Účelem cíle je určitá změna stavu, případně zabránění změny stavu a navrácení stavu do původního uspořádání. Hrdina řeší dvě linie – milostnou (vztahovou) a pracovní. Milostná (či vztahová) linie se týká hrdinova vztahu s další postavou, jenž se prohlubuje a nezřídka vede k utvoření heterosexuálního páru. Pracovní linií se rozumí cíl, ke kterému chce hrdina dojít. Hrdina má obvykle také jasně daný deadline, čili určitou pevně danou dobu, do níž musí cíl splnit. Co se však milostné linie týče, nejde o neměnnou konstantu, takže v některých filmech je utváření heterosexuálního páru rozšířena utvořením přátelství (Poslední skaut, 1990, Hard Boiled, 1992), či jím je úplně nahrazena (Zátah, 2011). Cílem v akčním filmu je zničení padouchů, záchrana milované osoby či prostě přežití. Základem cesty hrdiny k cíli je řetězec příčiny a následků, určující pohyb zápletky. Zajetí manželky Johna McClanea ve filmu Smrtonosná past zapříčiní, že McClane nevyhledá bezpečný úkryt, v němž setrvá, ale vrhne se do souboje s teroristou Hansem. Ve filmu Přepadení 13. okrsku zastřelí zoufalý otec vůdce gangu, který jej připravil o dceru, a schová se následně na policejní služebně 13. okrsku, který je přepaden. Cíl musí být splněn do uplynutí
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