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Tereza Šplíchalová Snová Krize Ve Filmech Sofie Coppoly

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Tereza Šplíchalová Snová Krize Ve Filmech Sofie Coppoly MASARYKOVA UNIVERZITA Filozofická fakulta Ústav filmu a audiovizuální kultury Tereza Šplíchalová (FAV, bakalářské prezenční studium) Snová krize ve filmech Sofie Coppoly Neoformalistická analýza filmu The Bling Ring Bakalářská diplomová práce Vedoucí práce: Mgr. Šárka Gmiterková Brno 2016 Prohlašuji, že jsem pracovala samostatně a použila jen uvedených zdrojů. V Brně dne 24. 11. 2016 ……………………………….. Tereza Šplíchalová Děkuji Mgr. Šárce Gmiterkové za odborné vedení mé bakalářské práce, za její ochotu, trpělivost a cenné připomínky a rady. OBSAH ÚVOD ......................................................................................................................................... 5 1 TEORETICKO – METODOLOGICKÝ PŘÍSTUP ........................................................... 7 1.1 NEOFORMALISMUS .......................................................................................................... 7 1.2 UMĚLECKÁ NARACE ........................................................................................................ 9 1.2.1 Modernismus .......................................................................................................... 9 1.3 STAR STUDIES ............................................................................................................... 11 2 SOFIA COPPOLA ........................................................................................................... 13 2.1 ZÁZEMÍ & ZAČÁTKY ...................................................................................................... 13 2.2 TÉMATA ........................................................................................................................ 14 2.3 ESTETIKA COPPOLINÝCH FILMŮ .................................................................................... 16 2.4 TYPOLOGIE HEREČEK & PRVEK ŽENSTVÍ ....................................................................... 23 2.5 PRODUKČNÍ ZÁZEMÍ ...................................................................................................... 26 2.6 PŘÍPRAVA NA NATÁČENÍ ................................................................................................ 27 2.7 RECENZE ....................................................................................................................... 28 2.8 SHRNUTÍ ........................................................................................................................ 29 3 NEOFORMALISTICKÁ ANALÝZA ............................................................................. 31 3.1 IDENTIFIKACE S CELEBRITOU ......................................................................................... 31 3.1.1 Syžet a fabule ........................................................................................................ 32 3.1.2 Narušení kauzality ................................................................................................ 32 3.1.3 Hraniční situace aneb Krize osamocení ............................................................... 33 3.1.4 Opakování ............................................................................................................. 35 3.2 STYLISTICKÁ ANALÝZA ................................................................................................. 36 3.2.1 Mizanscéna a vytvoření snového světa ................................................................. 36 3.2.2 Kamera a střihová skladba ................................................................................... 40 3.2.3 Kostýmy ................................................................................................................ 43 ZÁVĚR ..................................................................................................................................... 46 SUMMARY ............................................................................................................................. 47 LITERATURA A PRAMENY ................................................................................................. 48 FILMOGRAFIE ....................................................................................................................... 51 4 ÚVOD Ve své bakalářské práci se budu zabývat filmem The Bling Ring: Jako VIPky, který vychází ze skutečných událostí, jež se staly mezi roky 2008 a 2009. Tehdy skupina osmi teenagerů pocházející z oblasti Calabasas v Kalifornii začala vykrádat domy slavných osobností. Zloději odcizili věci v hodnotě téměř 3 miliónů dolarů, nakonec byli dopadeni a potrestáni. Celé skupině se začalo přezdívat The Bling Ring nebo také Hollywood Hills Burglar; případ ostře sledovala americká média a společnost. V magazínu Vanity Fair vyšel článek americké novinářky Nancy Jo Salesové „The Suspecst Wore Louboutins“,1 kde události rekonstruuje, zejména na základě rozhovorů, které autorce poskytli převážně Nick Prugo a Alexis Neiers. Později Nancy Jo Sales2 vydává i knihu věnovanou tomuto tématu s názvem The Bling Ring: How a Gang of Fame-Obsessed Teens Ripped Off Hollywood and Shocked the World. Americký snímek z roku 2013 The Bling Ring: Jako VIPky odráží velmi aktuální téma, a to posedlost celebritami. Právě tento ústřední motiv charakterizuje také širší tvorbu režisérky tohoto snímku Sofie Coppoly. Námětem jí byl pouze článek z Vanity Fair, k němuž přidala hlášení a policejní zprávy svázané s tímto případem. Mezi další inspirační zdroje patřily populární reality show a vlastní zážitky režisérky z období dospívání. Ve své práci se tedy kromě neoformalistické analýzy snímku The Bling Ring: Jako VIPky zaměřím i na rozbor dosavadní kariéry a filmografie Sofie Coppoly. První kapitola představí metody, s jejichž pomocí budu rozebírat snímek The Bling Ring: Jako VIPky, konkrétně se jedná o neoformalistický přístup a star studies. Ve druhé kapitole představím biografickou i profesní linku Sofie Coppoly a zároveň se budu věnovat i tématům, která prostupují všemi jejími filmy. Ve třetí kapitole se zaměřím na snímek The Bling Ring: Jako VIPky a jeho analýzu. Filmy Sofie Coppoly jsou po svém uvedení téměř vždy přijímány s rozpaky. Mnoho kritiků i diváků jí vytýká chabé postavy, jejich nedostatečné psychologické prokreslení, jindy v kritických výhradách rezonuje přímo její rodinné zázemí. Jako dcera slavného režiséra 1 Sales, Nancy Jo (2010): The suspects wore Louboutins <www.vanityfair.com/culture/features/2010/03/billionaire-girls-201003> 2 Sales Jo, Nancy (2013): The Bling Ring: How a Gang of Fame-Obsessed Teens Ripped Off Hollywood and Shocked the World: HarperCollins Publishers. 5 Francise Forda Coppoly měla údajně cestu k filmu mnohem snazší než řada jiných autorů a autorek její generace.3 V některých recenzích se pravidelně vrací nelichotivé označení „rich girl cinema“, tedy „filmy bohaté holky“. 4 Přitom později její snímky dorostou do téměř kultovního statusu a při bližší analýze teoretici docházejí k názoru, že Coppola dokáže invenčním způsobem předestřít témata typická pro současnou společnost. Širší teze mé práce se zaměřuje na autorskou osobnost Sofie Coppoly. Na jednu stranu zde máme témata zcela mimo artovou nebo nezávislou kinematografii. Na druhou stranu ji nelze zařadit do škatulky klasický umělecký film, jak ho známe například z Evropy, protože její snímky se zaobírají mainstreemovými tématy. Právě z těchto důvodů je nejvhodnější ji zařadit do hnutí Indiewood. Tento proces je vždy zabalen do charakteristické vizuální stránky jejích filmů. Ve všech snímcích je styl nadřazen narativu. Proto se moje užší teze zabývá způsoby zobrazení známých i neznámých celebrit a charakteristickým stylem Coppoliných filmů. Ten tvoří několik znaků prostupujících všemi jejími snímky. Konkrétně se jedná o prolnutí světa externího a interního, a to prostřednictvím pohledu postavy nebo postav z okna. Dále zachycení oné transformace charakteru, která je doprovázena až voyeuristickým pozorováním a vytvořením snového světa pro své hrdiny. Coppola dokáže přerod hrdinů zabalit do jakési „růžové bubliny“, kdy vše je v jejích filmech upravené, uhlazené, snové. Právě proto na nás nedoléhá krize hlavních postav s takovou silou. Absenci skutečně silné katarze jí kritika často vyčítá, stejně jako preferenci obrazové stránky na úkor často bezobsažného vyprávění. Podle mého soudu patří výše uvedené k nejvýraznějším prvkům její tvorby. 3 Callahan, Dan (2010): On Rich Girl Cinema: Lena Dunham’s Tiny Furniture and Sofia Coppola’s Somewhere. <http://www.slantmagazine.com/house/article/on-rich-girl-cinema-lena-dunhams-tiny-furniture-and-sofia- coppolas-somewhere> (cit. 16.9.2016). 4 Gmiterková, Šárka (2013): Pózy, hadry, koks. <http://www.advojka.cz/archiv/2013/14/pozy-hadry-koks> (cit. 23.9.2016). 6 1 Teoreticko – metodologický přístup 1.1 Neoformalismus Neoformalistický přístup vychází z ruského formalismu minulého století. Ruští literáti však kvůli svým myšlenkám, které nevyhovovaly tehdejšímu režimu, museli Rusko opustit. Až v 80. letech 20. století se formalistické myšlenky odrazily v díle manželů Davida Bordwella a Kristin Thompsnové. Oba dva ve svých knihách Breaking the Glass Armor a Narration in the Fiction Film nastínili základy neoformalismu a uvedli jej k praktickému využití. V další jejich společné publikaci Film Art rozebírají jednotlivé složky, které jsou důležité pro analyzování filmu. Neoformalismus se vymezuje vůči psychoanalýze, marxismu a dalším teoriím, které se k filmům staví již s nějakými předpoklady a ty se pak na daném díle snaží dokázat. Výhoda neoformalistického přístupu je v tom, že jej lze aplikovat na každý film. Poskytuje
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