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Významná Osobnost Evropské Kinematografie. Michelangelo Antonioni: Postavení V Dějinách Světové Kinematografie, S Důrazem Na Tvorbu Šedesátých Let

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Významná Osobnost Evropské Kinematografie. Michelangelo Antonioni: Postavení V Dějinách Světové Kinematografie, S Důrazem Na Tvorbu Šedesátých Let Fakulta filozofická Diplomová práce Významná osobnost evropské kinematografie. Michelangelo Antonioni: postavení v dějinách světové kinematografie, s důrazem na tvorbu šedesátých let. Tadeáš Frano 1 Západočeská univerzita v Plzni Fakulta filozofická Katedra filozofie Studijní program Humanitní studia Studijní obor Evropská kulturní studia Diplomová práce Významná osobnost evropské kinematografie. Michelangelo Antonioni: postavení v dějinách světové kinematografie, s důrazem na tvorbu šedesátých let. Tadeáš Frano Vedoucí práce: Mgr. Jan Kastner Katedra filozofie Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2013 2 Prohlašuji, ţe jsem práci zpracoval samostatně a pouţil jen uvedených pramenů a literatury. Plzeň, duben 2013 ……………………… 3 Obsah ÚVOD ..................................................................................................................................................... 6 SPOLEČENSKÉ KLIMA DOBY.......................................................................................................... 9 EVROPSKÁ KINEMATOGRAFIE 60. LET .................................................................................. 10 Francouzský film ............................................................................................................................................ 10 Španělský film ................................................................................................................................................ 11 Německý film ................................................................................................................................................. 11 Italský film ..................................................................................................................................................... 11 ŽIVOTOPIS ........................................................................................................................................ 13 KONCEPT ANTONIONIOVSKÉHO „HRDINY“ .......................................................................... 15 RANÁ TVORBA ................................................................................................................................ 17 TETRALOGIE CITŮ ......................................................................................................................... 21 Dobrodružství (1960)...................................................................................................................................... 22 Anna .................................................................................................................................................................. 23 Claudia .............................................................................................................................................................. 23 Noc ................................................................................................................................................................. 24 Giovanni ............................................................................................................................................................ 25 Lidia ................................................................................................................................................................... 25 Claudia .............................................................................................................................................................. 26 Zatmění .......................................................................................................................................................... 26 Pierre ................................................................................................................................................................ 27 Vittoria .............................................................................................................................................................. 27 Červená pustina ............................................................................................................................................. 28 Corrado ............................................................................................................................................................. 29 Giuliana ............................................................................................................................................................. 29 AUTOROVA MIMOITALSKÁ TVORBA 60. LET ....................................................................... 31 Zvětšenina ...................................................................................................................................................... 31 Fotograf Thomas ............................................................................................................................................... 34 Noclehárna ....................................................................................................................................................... 36 Vrtule, která se netočí ...................................................................................................................................... 37 4 Vražda okem neviděná ..................................................................................................................................... 38 Antonioniho polemika o přijímání zjeveného ................................................................................................... 40 Zabriskie Point ............................................................................................................................................... 41 Nepřijetí kritikou ............................................................................................................................................... 42 Antonioni v americkém prostředí ..................................................................................................................... 43 Neherci, kteří žili svoje role .............................................................................................................................. 45 Mark .................................................................................................................................................................. 46 Daria.................................................................................................................................................................. 49 Podstatné dějové prvky .................................................................................................................................... 51 ZHODNOCENÍ ANTONIONIHO TVORBY .................................................................................. 54 ZÁVĚR ................................................................................................................................................ 57 SEZNAM POUŽITÉ LITERATURY ............................................................................................... 58 UDIOVIZUÁLNÍ ZDROJE ................................................................................................................ 60 RESUME ............................................................................................................................................. 61 5 Úvod V práci volím metodu subjektivní recepce daných děl, jeţ konfrontuji s odbornou produkcí věnující se dané tématice. Moje snaha spočívá v maximálním vyuţití dostupných zdrojů jak z české tak i anglickojazyčné produkce. Co se týče české filmové kritiky, tak ta se nahlíţenému tématu věnovala obšírně bez ideologického podtextu v 60. letech. Následné normalizační období jiţ bylo poznamenáno absencí kvalitních českých filmových kritiků (byli proskribováni). V centru mého zájmu bude deskripce zásadních motivací postav, přičemţ budu klást důraz téţ na rozbor zásadních dějových prvků. Můj přístup je pochopitelně ovlivněn subjektivním aspektem nahlíţení na daná díla. Průřez Antonioniho tvorbou 60. let s důrazem na ve Velké Vritánii natočenou Zvětšeninu a v USA natočený Zabriskie Point, je hlavním tématem této práce. Abychom mohli přistoupit k rozboru těchto v anglickém jazyce natočených děl, je potřeba si nejprve zmapovat Antonioniho ţivot i zevrubně nahlédnout do děl, která Zvětšenině (1966) a Zabriskie Point (1970) předcházela. Zejména tzv. tertalogii citů, které je v této práci věnována kapitola. Neboť jenom tímto způsobem jsme schopni pochopit a patřičně posoudit nadčasové a hluboké sdělení Zvětšeniny, které na diváka působí hned v několika rovinách – vypravěčské, vizuální a psychologické s nádechem metafyziky stejně jako Zabriskiie Point, který se snaţí zachytit americkou realitu na začátku 70. let. Práce je dělená kapitol. V druhé kapitole je načrtnuto společenské prostředí 60. let. Ve třetí kapitole je stručně zmíněna soudobá evropská filmová tvorba. Čtvrtá kapitola se stručně věnuje Antonioniho ţivotopisu a pátá pak zkoumá hlavní rysy jeho filmových hrdinů. Šestá kapitola se jmenuje Tetralogie citů a zabývá se filmy, které Antonioni natočil v 1. Polovině 60. let v Itálii, v nichţ vţdy jednu z hlavních rolí ztvárnila jeho tehdejší partnerka Monica Vitti. Sedmá kapitola se zabývá autorovo mimoitalskou tvorbou 6 vymezenou obdobím 60. let. Zde se podrobně zkoumají filmy Zvětšenina a pátá filmu Zabriskie Point. Dalším cílem této práce práce je na Antonioniho konkrétní snímky nahlíţet skrze psychologii postav,
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