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Univerzita Palackého V Olomouci UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA DIVADELNÍCH, FILMOVÝCH A MEDIÁLNÍCH STUDIÍ Film, digitální hry a jejich interakce Remediační tendence ve filmu a digitálních hrách (Film, digital games and their interaction: remediation tendencies in film and games) Magisterská diplomová práce Téma: Film, digitální hry a jejich interakce Autor: Zdeněk Blaha (Česká filologie – Filmová věda) Vedoucí práce: Mgr. Jakub Korda Olomouc 2010 PROHLÁŠENÍ Prohlašuji, že jsem magisterskou diplomovou práci vypracoval samostatně a uvedl jsem všechny použité zdroje. V Praze dne 26. 4. 2010 …………………………….... Zdeněk Blaha 2 PODĚKOVÁNÍ Děkuji Mgr. Jakubovi Kordovi za cenné rady a trpělivost a dále pak děkuji Bohdanu Heblíkovi za možnost seznámení se s Heavy Rain, klíčovým dílem této práce, stejně jako děkuji Jakubovi Fürstovi, Jakubovi Němečkovi a Janě Novorytové za soustavnou podporu a kritické připomínky, které napomohly k dalšímu směřování této práce. 3 Obsah 1. Úvod ................................................................................................................................... 6 1.1. Úvod do problematiky ....................................................................................................... 6 1.2. Téma, cíl a metodologie práce ........................................................................................... 9 1.3. Terminologický aparát ..................................................................................................... 10 2. Digitální hry a jejich charakteristika ............................................................................... 12 2.1. Definice digitální hry ........................................................................................................ 12 2.2. Digitální hry a obrysy jejich vývoje ................................................................................... 14 2.3. Klasifikace her .................................................................................................................. 16 3. Teoretická část ................................................................................................................. 24 3.1. Koncept remediace ......................................................................................................... 24 3.2. Film a digitální hry – similarita vývoje ............................................................................. 28 3.3. Technoludický film .......................................................................................................... 35 4. Digitální hry ve vztahu k filmu ........................................................................................ 40 4.1. Filmová řeč a „filmovost“ v digitálních hrách ................................................................. 40 4.2. Narativní možnosti her .................................................................................................... 41 4.3. Interaktivní vyprávění ..................................................................................................... 48 4.4. Cyberdrama ..................................................................................................................... 50 4.5. Ergodická literatura ......................................................................................................... 53 5. Analýza filmových prvků v rámci digitálních her ............................................................ 57 5.1. Herní animace ................................................................................................................. 57 5.2. Machinima – realizace filmové řeči skrze herní prostředí .............................................. 64 5.3. „Filmové hry“ – konkrétní příklady remediace v digitálních hrách ................................. 69 5.3.1. Série Medal of Honor ............................................................................................... 70 5.3.2. Interaktivní film jako praktická realizace průniku média filmu a digitálních her: Heavy Rain (Quantic Dream, 2010) ......................................................................... 78 4 6. Analýza herních prvků ve filmu....................................................................................... 91 6.1. Remediace her ve filmu................................................................................................... 91 6.1.1. Lola běží o život (Tom Tykwer, 1998) ....................................................................... 91 6.1.2. Cloverfield (Matt Reeves, 2008)............................................................................. 101 6.1.3. Dílčí prvky ve vybraných filmech ............................................................................ 116 7. Závěr .............................................................................................................................. 119 8. Bibliografie ..................................................................................................................... 122 a. Literatura: ...................................................................................................................... 122 b. Články z deníků a časopisů: ........................................................................................... 124 c. Internetové a jiné zdroje: .............................................................................................. 125 9. Seznam citovaných titulů .............................................................................................. 127 a. Citované hry .................................................................................................................. 127 b. Citované filmy ............................................................................................................... 133 c. Citované seriály ............................................................................................................. 136 10. Slovníček pojmů ............................................................................................................ 137 11. Obrazová příloha ........................................................................................................... 140 12. Anotace diplomové práce ............................................................................................. 148 13. English Summary ........................................................................................................... 149 5 1. Úvod 1.1. Úvod do problematiky Digitální hry a film mají k sobě v rámci nových médií mnohem blíže, než jiná média, protože je spojuje jejich audiovizuální charakter, důraz na vizualitu a akci i podobné narativní strategie. S tím souvisí i schopnost nést příběh (hry jako narativní médium). Právě blízkost filmového média a digitálních her podrobím zkoumání s cílem popsat vzájemně působící tendence k přejímání postupů vlastních každému z těchto médií. Proč zrovna digitální hry? Protože vedle internetu patří k nejdynamičtěji se rozvíjející skupině tzv. nových médií. Nejlépe demonstrují současný technologický vývoj v oblasti nejen výpočetní techniky, ale i počítačové grafiky a digitální animace. Zárovep se během zhruba čtyř dekád své existence1 dokázaly digitální hry vystoupit ze své neprávem přiřknuté role outsidera a zábavy pro děti až na výraznou pozici marketingově silného produktu a inteligentní, propracované zábavy i pro dospělé. Ekonomickou stabilitu herního průmyslu dokládá i fakt, že světová finanční krize jej téměř nezasáhla.2 Namísto toho se z herního průmyslu stává důležitá oblast pro výzkum interakce mezi počítačem a uživatelem. Pro větší představu je lepší postavit digitální hry do srovnání s ostatními novými médii. Teoretikové nových médií, Jay Bolter a Richard Grusin ve své knize Remediation: Understanding New Media představují koncept 9 médií, které označují jako nové nebo které zhybridizovaly do nové podoby (byly remediovány): digitální hry (computer games), digitální fotografie, fotorealistická grafika, digitální umění, film, virtuální realita, televize, internet, mediovaný prostor (např. zábavní parky, kde medialita hraje svou roli, viz Disneyho zábavní parky nebo Universal Studios park). Podíváme-li se blíže na jednotlivé kategorie, jsou právě 1 Přestože za jako vůbec první hru tohoto typu se považuje Spacewar! již z roku 1961, teprve 70. léta přinesla masový rozvoj a nástup prvních vývojářských firem. 2 Jeden příklad za všechny - britský deník Guardian přinesl rozbor současného stavu internetových, komunitních her společnosti Playfish (http://www.playfish.com), která své hry šíří skrze server www.facebook.com. Závěry jasně ukazují, že nově představené hry si okamžitě získávají popularitu (Playfish uvádí číslo 25 milionů registrovaných hráčů) skrze in-game reklamu. Od světového krachu ale naopak společnost Playfish posílila o 17 milionů dolarů díky investicím společnosti Accel Partners, jedné z firem stojícíh mimo jiné i za Facebookem. In: Franklin, Jonathan – Wray, Richard: Less killing, more kissing: new breed of computer games bring people together http://www.guardian.co.uk/technology/2008/dec/29/social-networking-games-playfish-facebook (k datu 9.1.2009) 6 digitální hry, společně s internetem, v současnosti nejrychleji se rozvíjející oblastí, navíc zahrnující i další prvky, jako je virtuální realita či fotorealistická počítačová grafika, které jsou jejich součástí. Ostatně schopnost pojmout či propojit více médií se ukazuje jako „cesta budoucnosti“. Týká se to například digitální televize a současných úvah o zrevidované, interaktivní podobě
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