Speed Racer Jako Mediální Origami

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Speed Racer Jako Mediální Origami Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Jaroslav Fibinger (Teorie a dějiny filmu a audiovizuální kultury, bakalářské prezenční studium) Speed Racer jako mediální origami Bakalářská diplomová práce Vedoucí práce: Mgr. Luděk Havel Brno 2012 Dekuji vedoucímu mé práce, Mgr. Luďku Havlovi, za velice cenné a podnětné rady v průběhu přípravy této práce. Prohlášení: Prohlašuji, ţe jsem diplomovou práci vypracoval samostatně s vyuţitím uvedených pramenů a literatury. V Brně dne 13. července 2012 Podpis: …………………………. Jaroslav Fibinger 1. Úvod .................................................................................................................... 6 1.1 Teoreticko-metodická reflexe ........................................................................ 7 1.1.1 Neoformalistická analýza ........................................................................ 7 1.1.2. Historický kontext ................................................................................ 10 1.1.3. Analýza narativního filmu .................................................................... 11 2. Ekonomický a kulturně-historický kontext ................................................... 14 2.1. Co je to komiks? .......................................................................................... 15 2.2. Co je to manga? ........................................................................................... 16 2.3. Co je to anime? ............................................................................................ 17 2.4. Manga Mach Gogogo a Seriál Mach Gogogo ............................................. 18 2.5 Historie vzniku filmu Speed Racer .............................................................. 20 2.6 Natáčení ........................................................................................................ 21 2.7 Další „ţivot“ filmu po jeho premiérovém uvedení v kinech ........................ 22 3. Neoformalistická analýza ................................................................................ 26 3.1 Analýza narace ............................................................................................. 26 3.1.1 Ţánr ........................................................................................................ 27 3.1.2 Vertikální integrace času ....................................................................... 28 3.1.3 Syţet ...................................................................................................... 30 3.2 Analýza stylu ................................................................................................ 32 3.2.1 Mizanscéna ............................................................................................ 32 3.2.2 Střihová montáţ ..................................................................................... 36 3.2.2.1 Analýza střihu ................................................................................. 37 3.3 Významy ...................................................................................................... 40 4. Závěr ................................................................................................................. 42 5. Použitá literatura a prameny: ........................................................................ 44 5.1 Literatura ...................................................................................................... 44 5.2. Prameny ....................................................................................................... 44 5.3. Filmogragie ................................................................................................. 47 6. English summary ............................................................................................. 49 7. Příloha ............................................................................................................... 51 7.1 Segmentace syţetu ....................................................................................... 51 1. Úvod Origami je staré umění skládání papíru. I film Speed Racer má podobu japonského origami, které je moţné seskládat do podoby určitého celku. Mohou být pohyblivá, dají se různě tvarovat, mohou být sloţené z více dílů, které se do sebe zasouvají a poté vznikají sloţité 3D modely. Svojí komplexností a rafinovaností dokáţou člověka uhranout. Všechny uvedené příklady se hodí i na film Speed Racer, který se dá přirovnat k origami a k jejím vizuálním schopnostem. Člověk, který se vůbec nezajímá o filmové umění, by mohl na první pohled snímek chápat jako určený pro dětské publikum. Z filmových fotografií a z upoutávek se na nás line směsice barev, futuristických strojů a popíraní fyzikálních zákonů. Film Speed Racer vstupoval do kin s velkým očekáváním. Nastolil několik otázek, zda dokáţe vydělat dostatek peněz, zda Wachowští jsou schopni překročit stín svého předešlého filmu Matrix. Zda přinesou do filmového světa unikátní technicky dokonalé dílo, o kterém se v odborných kruzích bude mluvit dlouhou dobu. Při zpětném pohledu se mnoho očekávání nepovedlo splnit, ale jedna věc se zdařila. Sourozenci dokázali natočit technicky precizní, dokonalý počin. Dílo, které jsme neměli moţnost v minulosti spatřit, film který vypadá jako nejbláznivější atrakce z Disneylandu. Na první pohled není zřejmé, zda cílí na publikum dětské, či dospělé. Snímek zanalyzuji a ukáţu, v čem je Speed Racer výjimečný. V čem tkví jeho technická a narativní propracovanost. Speed Racer si vypůjčuje naratologické postupy z medií jako je komiks a manga, a z tohoto důvodu se pokusím prokázat, jakým způsobem dokáţou stylistické a naratologické prvky ovlivnit způsob nahlíţení na film. Na konkrétních případech ukáţu inovativní prvky, které jsou pro film jako takový nadbytečné a dále, jak tyto inovativní prvky jsou skloubeny s klasickým hollywoodským vyprávěním. Na jedné vybrané scéně ukáţu, jak funguje klasický kontinuální střih a jak funguje střih, který nesplňuje parametry 6 kontinuálního střihu. Cílem práce není podrobně rozebrat technické parametry střihu. 1.1 Teoreticko-metodická reflexe Film na diváka působí jako komplexní dílo. Běţný divák nevnímá, ţe film je poskládán z různých částí, které jsou na sobě navzájem závislé. Mohli bychom ho přirovnat k lidskému organizmu. Skládá z různých vrstev, které jsou na sebe postupně skládány, aţ divákovy vytvoří koherentní celek. Tento celek díky neformalistické analýze můţeme zpětně zanalyzovat a kaţdou část samostatně oddělit a zjistit, jaká forma vyprávění byla pouţita v konkrétním snímku. V úvodu práce objasním pojmy a problematiku neformalistické analýzy. Následně popíši historický vývoj filmu Speed Racer. Dále seznámím s historickým vývojem filmu Speed Racer. Poté nastíním, jak si film vedl v kinech a jaký měl dopad na další filmy, které byly natočeny po roce 2008. Samotnou analýzu filmu budu provádět pomocí neoformalistické analýzy, kterou dovedli k dokonalosti David Bordwell a Kristin Thompsonová a ze svých poznatků, vytvořili knihu Umění filmu.1 1.1.1 Neoformalistická analýza Neoformalismus je estetickým přístupem zaloţeným na bádání ruských formalistů, kteří působili ve dvacátých letech dvacátého století v Rusku. Formalisté nerozdělovali na umění nízké nebo vysoké, ale rozlišovali mezí praktickou, kaţdodenní percepcí a percepcí specificky estetickou, ne-praktickou. A právě film v nás vyvolává percepci ne-praktickou, my jako diváci, kteří sledujeme film, se nevrhneme na pomoc hlavnímu protagonistovi, ale sedíme nehybně v křesle. Vstupujeme do procesu sledování filmu, jako do zkušenosti naprosto oddělené od naší běţné existence. 1 Bordwell, David – Thompsonová, Kristin (2011): Umění filmu. Praha: AMU, s. 680. 7 Neofomalistická analýza nám pokládá různé otázky. Abychom na ně byli schopni odpovědět, musíme si zvolit metodu a přístup. Ten musí být aplikovatelný na kaţdý film a musí mít v sobě zabudovanou potřebu sebe zpochybňování a tím i proměňování se. Určitý přístup nám umoţní vybrat z mnoha otázek ty nejdůleţitější, na které se chceme soustředit a důkladně je analyzovat. Neoformalismus chce po divákovi, při sledování filmu, aktivní zapojení kognitivního myšlení2 při sledování filmu. Mezi filmem a divákem je interakce, jelikoţ divák hledá podněty a reaguje na ně diváckými schopnostmi, které získal při pouţívání jiných uměleckých děl, nebo ve všedním ţivotě. Divák dále prochází, při sledování filmu různými procesy. Ty mohou být fyziologické (vnímá pohyb), podvědomé (snadné zpracování informací, divák si to nemusí ani uvědomit), vědomé (toto je nejdůleţitější moment pro neoformalistikou analýzu, jelikoţ divák dokáţe porozumět příběhu) a nakonec proces nevědomí (registruje plynutí času). To znamená, ţe americký divák vnímá americký film Speed Racer úplně odlišně, neţ japonský divák, který zná ze své kultury manga komiks Speed Racer a byl s ním v minulosti obeznámen. Japonský divák bude k filmu přistupovat komplexněji.3 Neoformalisté rozlišují čtyři druhy významů, které nejsou konečným výsledkem díla, ale jsou jednou z jeho formálních komponent. Slouţí k denotacím a konotacím díla a pomáhají dílo interpretovat. Můţeme je rozdělit na čtyři druhy:4 Referenční – divák rozeznává identitu aspektů reálného světa. Explicitní – abstraktnější myšlenky, které jsou v díle přímo vyjádřené. 2Neoformalismus vychází z psychoanalýzy. Psychoanalýza je teorie osobnosti. Zaloţil ji Sigmud Freud (1856-1932) 3 Thompson, Kristin (1998): Neoformalistická filmová analýza: jeden přístup, mnoho metod. Iluminace, 10, č. 1 (29), 19; přel. Zdeněk Böhm
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