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Masarykova Univerzita Ústav Filmu a Audiovizuální Kultury

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Masarykova Univerzita Ústav Filmu a Audiovizuální Kultury Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Barbora Cibulová (FAV, bakalárske prezenčné štúdium) Dokumentarizmus – edukačná funkcia filmu Glen or Glenda. Neoformalistická analýza filmu Bakalárska diplomová práca Vedúci práce: Mgr. Marie Barešová Brno 2012 Poďakovnie: Ďakujem vedúcej práce Mgr. Marii Barešovej za trpezlivosť, rady a pripomienky, ktorými mi pomáhala pri písaní tejto práce. 2 Prehlásenie: Prehlasujem, ţe som pracovala samostatne s pouţitím uvede- ných zdrojov. 24.4.2012 Podpis: ............... 3 Obsah 1. Úvod....................................................6 1.2. Teoreticko-metodologická reflexia..................7 1.2.1. Princípy neoformalistickej analýzy filmu......7 1.2.2. Analýza filmu.................................8 2. Ekonomický a kultúrne-historický kontext................10 2.1. Vznik filmu........................................10 2.1.1. Autor a prípad Jorgensen......................11 2.1.2. Spolupráca....................................14 2.1.3. Distribúcia a predvádzanie....................15 2.2. Ďalší ţivot filmu po uvedení a jeho šírenie........17 2.2.1. Spôsoby šírenia a zmena vnímania..............18 3. Neoformalistická analýza................................22 3.1. Úvod k analýze.....................................22 3.2. Segmentácia syţetu.................................23 3.3. Naratologická analýza..............................25 3.3.1. Štruktúra syţetu..............................26 3.3.2. Rozsah a hĺbka narácie........................29 3.4. Štylistická analýza................................31 3.4.1. Mizanscéna...................................31 3.4.2. Záber........................................33 3.4.3. Strihová skladba.............................34 3.4.4. Zvuk.........................................35 3.5. Téma...............................................36 4. Záver...................................................38 5. Pouţité zdroje..........................................40 5.1. Knihy a publikácie.................................40 5.2. Internetové zdroje.................................40 5.3. Databázy...........................................41 5.4. Filmy..............................................41 4 6. Summary.................................................43 5 1. Úvod Pre bakalársku prácu – neoformalistickú analýzu filmu, som si vybrala film Glen or Glenda1 od reţiséra Edwarda D. Woo- da Jr. Na výber práve tohto filmu som mala mnoho dôvodov. Okrem faktu, ţe film patrí k mojim srdcovým záleţitostiam, je dôvodom práve výnimočnosť tohto snímku. Prečo moţno Glen or Glenda povaţovať za výnimočný? Je tomu tak jednak z hľadiska vzniku filmu, ktorý je mnohým filmovým fanúšikom známy, a ktorý máme moţnosť v skratke sledovať vďaka snímku Tima Burtona - Ed Wood2, ale najmä preto, ţe tento film je povaţovaný za jeden z najhorších kúskov kinematografie. Na toto tvrdenie však existujú mnohé názory a ja by som sa ho pomocou tejto analýzy pokúsila vyvrátiť, pretoţe Glen or Glenda je z mnohých hľadísk inovatívny. Prvok, ktorý film ozvláštňuje - ako napovedá samotný názov - je práve doku- mentarizmus. Robí tak z neho netradičné dielo medzi nara- tívnymi filmami. Podľa hodnotení na internetovej databáze The Internet Mo- vie Database3 si moţno utvoriť obraz o rozpoltenosti v názoroch na tento film. Nachádza sa tu mnoho hodnotení, ktoré označujú film za umelecký unikát a reţiséra za génia, alebo dokonca tvrdenia, ţe film je síce zlý nepodarok, ale aj napriek tomu je obľúbený a stretáva sa s vysokým hodno- tením uţívateľov (pričom priemerné hodnotenie dosahuje 3,8 hviezdičky z 10).4 Tu však musím pripomenúť ţe ide o dnešný pohľad na film, pretoţe kontext, v ktorom sa nachádza v dnešnej dobe sa značne líši od minulosti. Takţe potvrde- 1 Glen or Glenda (Edward Davis Wood Jr., USA, 1953) 2 Ed Wood (Tim Burton, USA, 1994) 3 <http://www.imdb.com/title/tt0045826/> (cit. 7.4.2012) 4 <http://www.imdb.com/title/tt0045826/reviews> (cit. 7.4.2012; recezie uţívateľov pochádzajú z obdobia 1998 - 2012) 6 nie teórie o tom, ţe nejde o brakový film je moţné utvá- rať len z pohľadu dnešného diváka. Zastávam názor, ţe je nevyhnutné vidieť ako kvalitné, kul- tové filmy, tak je potrebné zamerať sa aj na menej známe diela alebo dokonca brakové - tzv. B filmy, medzi ktoré sa radí aj Glen or Glenda. Je to nevyhnuté pre pochopenie jed- notného kontextu danej kinematografie ako celku (napr. ur- čitého národa) alebo tvorby určitého autora. Ako som spomí- nala, film Glen or Glenda je radený medzi filmy B kategó- rie. Toto jeho zaradenie pochádza ešte z doby jeho vzniku, teda 50. rokov. „Béčkové“ filmy boli typickým ţánrom, kto- rých korene siahajú do konca 20. rokov 20. storočia a ich popularita trvala aţ do 60. rokov. Vo všeobecnosti ide o menej popularizované, nízkorozpočtové filmy, ktoré bývali súčasťou tzv. double feature – trend filmového priemyslu, kedy kiná premietali dva filmy za cenu jedného. Takéto fil- my boli väčšinou reprezentované určitým konkrétnym ţánrom, ako napríklad western, sci-fi, horor alebo exploatačné fil- my.5 1.2 Teoreticko-metodologická reflexia Na napísanie bakalárskej práce som zvolila metódu neofor- malistickej analýzy, pričom ako hlavný zdroj informácií mi slúţili diela Kristin Thompsnovej a Davida Bordwella. 1.2.1 Princípy neoformalistickej analýzy filmu Neoformalizmus vychádza najmä z práce ruských literárnych formalistov. Kladie teoretické otázky, snaţí sa vysvetľovať 5 <http://www.bmoviecentral.com/bmc/bmc-articles/145-what-exactly-is- a-b-movie.html˃ (cit. 5.12.2011) 7 a objasňovať. Výstiţné a zhrňujúce je tvrdenie Kristin Thompsonovej: „Keď film vybudí náš záujem, analyzujeme ho, aby sme formálnymi a historickými pojmami vysvetlili, čo sa v diele, ktoré spustilo takú reakciu deje.“6 Ide teda o akýsi pohľad do vnútra filmu, jeho štruktúry a priblíţenie tohto uhlu pohľadu divákovi. V neoformalistickej analýze nie sú hlavným bodom záujmu myšlienky, ktoré má dielo zdeľovať, ale riadi sa princípom „umenie pre umenie“ (ktoré rovnako vychádza z formalizmu) – jeho hlavným cieľom je potešenie, ktoré v nás vyvoláva. Dô- leţité sú tu emócie a ich hĺbka a krása. Preto tu hrá dôle- ţitú úlohu divák, ktorý sa podieľa na konštrukcií filmu. Divák vo vzťahu k umeleckému dielu nie je pasívny, práve naopak. Stáva sa aktívny tým, ţe hľadá podnety a následne na ne reaguje. Vytvára si určité mentálne konštrukty, kto- rými postupne uceľuje vnútornú stavbu diela tak, aby dávalo zmysel. Veľmi dôleţité je tu spomenúť pojem „ozvláštnenie“. Je to v podstate situácia, kedy divák vidí, resp. vníma je- mu známu, automatickú vec v umeleckom diele úplne inak, ako je na ňu zvyknutý zo sveta, ktorý ho denne obklopuje alebo z iného umeleckého diela. Prístup diváka sa tak mení a objavuje nový spôsob chápania nejakej konkrétnej situácie v umeleckom diele, obvykle vnímanej na základe vytvorených alebo naučených stereotypov, ktorá sa ukazuje v novom svet- le práve vďaka novému kontextu, v ktorom sa nachádza. Ume- nie sa takýmto spôsobom snaţí zabrániť automatizácii ozvláštnením. 1.2.2. Analýza filmu Jednou zo základných stratégií neoformalistickej analýzy je hľadanie dominanty. Dominanta je akýsi hlavný princíp, 6 THOMPSON, Kristin (1988): Breaking the Glass Armor. Neoformalist Film Analysis. Princeton: Princeton UP (Iluminace, 1998, č.1)s.7 8 ktorý určuje celkový vnútorný chod filmu, naznačuje organi- záciu prostriedkov pouţívaných v diele a ich opodstatnenie. Pomocou dominanty sú poprepájané jednotlivé roviny filmové- ho diela, teda rovina tematická, štylistická a naratívna. [Thompsonová, 1998: 35] Narácia je proces, pri ktorom syţet rozpráva príbeh urči- tým konkrétnym spôsobom tak, aby si divák konštruoval fabu- lu, pričom pod pojmom syţet chápeme všetko čo vidíme a po- čujeme na plátne a fabulou rozumieme mentálny konštrukt, ktorý si vytvorí divák na základe syţetu. Pri štylistickej rovine ide o usporiadanie jednotlivých prostriedkov filmovej reči, ktoré vytvárajú a štylizujú ce- lé dielo. Utvárajú akúsi koherentnú formu. 9 2. Ekonomický a kultúrne-historický kontext Do nasledujúcej kapitoly som sa snaţila čerpať z čo naj- väčšieho počtu prístupných zdrojov, čím som sa snaţila priblíţiť pozadie vzniku, marketingu a nejaké informácie zo zákulisia filmu a o autorovi samotnom. Ako zdroje mi slúţi- li najmä audiovizuálne diela, ktoré sú najpočetnejším z prístupných zdrojov o tomto filme. Čerpala som najmä z dokumentárnych filmov, z ktorých moţno vymenovať The Haunted World of Edward D.Wood Jr.7 alebo The Flying Sau- cers Over Hollywood: The Plan 9 Companion, 19928. Veľmi prínosným zdrojom bol tieţ fikčný film Ed Wood (1994), na- točený americkým reţisérom Timom Burtnom. Nemálo tieţ po- mohla literatúra a to najmä kniha Roba Craiga: Ed Wood: Mad Genius- The Critical Study of The Films9 a v podstatnej miere aj internet10. V tejto kapitole sa budem zaoberať vznikom filmu, jeho pozadím, tvorcami, ktorí sa na ňom po- dieľali ale i recepciou a hodnotením. 2.1 Vznik filmu O filme Glen or Glenda a za začalo polemizovať aţ nedávno. V čase jeho vzniku, teda v 50. rokoch, mu nebola venovaná taká pozornosť s akou sa stretol o štyridsať rokov neskôr. Toto tvrdenie vyplýva aj z faktu, ţe neexistuje veľa ofi- ciálnych záznamov a informácií o tomto filme, zverejnených v médiách, predovšetkým v tlači alebo poskytnutých filmovým 7 The Haunted World of Edward D.Wood Jr.(Brett Thompson, USA, 1995) 8 The Flying Saucers Over Hollywood: The Plan 9 Companion (Mark Patrick Carducci, USA 1992) 9 CRAIG, Rob (2009): Ed Wood: Mad Genius- The Critical Study of The Films. Jeffersons, North Carolina:
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