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Battlestar Galactica: Narativní a Žánrová Analýza (Battlestar Galactica: Narrative and Genre Constituents)

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Battlestar Galactica: Narativní a Žánrová Analýza (Battlestar Galactica: Narrative and Genre Constituents) Univerzita Palackého v Olomouci Filozofická fakulta Katedra divadelních, filmových a mediálních studií Battlestar Galactica: narativní a žánrová analýza (Battlestar Galactica: Narrative and Genre Constituents) BAKALA ŘSKÁ PRÁCE Autor : Ladislav Loukota Vedoucí práce : Mgr. Jakub Korda, Ph. D. Olomouc 2012 1 Čestné prohlášení Děkuji p ředevším Mgr. Jakubu Kordovi, Ph. D. za pádné p řipomínky a vedení práce, kterým mi pomáhal dotvá řet její obraz, stejn ě jako za trp ělivost p ři odpovídání dotaz ů a pozdním pln ění termín ů. Prohlašuji, že jsem tuto diplomovou práci vypracoval samostatn ě a uvedl v ní veškerou literaturu a ostatní zdroje, které byly použity. V Olomouci dne 24. 4. 2012 ............................................................... Ladislav Loukota 2 1. ÚVOD................................................................................................................................................................. 4 2. LITERATURA A METODOLOGIE .............................................................................................................. 6 2.1 POUŽITÁ LITERATURA ....................................................................................................................... 6 2.1.1 ODBORNÁ LITERATURA.................................................................................................... 7 2.1.2 POPULÁRNÍ LITERATURA ................................................................................................. 8 2.2 STRUKTURA PRÁCE .......................................................................................................................... 10 2.3 POZNÁMKA K NÁZV ŮM A CITACÍM ................................................................................................ 12 3. ŽÁNROVÁ ANALÝZA.................................................................................................................................. 13 3.1 VYMEZENÍ POJMU SPACE OPERY ................................................................................................... 15 3.2 ST ĚŽEJNÍ DÍLA SPACE OPERY ......................................................................................................... 17 3.3 BATTLESTAR GALACTICA JAKO SPACE OPERA ............................................................................ 23 3.4 KOMPAROVÁNÍ ŽÁNROVÉ KONKURENCE .................................................................................... 28 3. 4. 1 STARGATE SG-1................................................................................................................ 28 3. 4. 2 STAR TREK: ENTERPRISE............................................................................................... 32 3.5 BATTLESTAR GALACTICA JAKO ŽÁNROVÝ HYBRID ..................................................................... 35 4. NARATIVNÍ ANALÝZA – POSTAVY........................................................................................................ 37 4.1 ROLE POSTAV V NARATOLOGII ....................................................................................................... 38 4.2 DĚLENÍ POSTAV V BSG ..................................................................................................................... 41 4.3 KONSTRUKCE POSTAV V BSG – EXISTENTY TYPU JÁDRA ........................................................... 42 4.3.1 LAURA ROSLIN ....................................................................................................................... 42 4.3.2 GAIUS BALTAR ....................................................................................................................... 47 4.3.3 KARA „S TARBUCK “ THRACE .................................................................................................. 51 4.3.4 WILLIAM ADAMA ................................................................................................................... 54 4.3.5 LEE „A POLLO “ ADAMA .......................................................................................................... 59 4.3.6 SAUL TIGH .............................................................................................................................. 61 4.3.7 SIX .......................................................................................................................................... 64 4.4 KONSTRUKCE POSTAV V BSG – EXISTENTY TYPU SATELITY ...................................................... 67 4.4.1 KARL C. „H ELO “ AGATHON ................................................................................................... 67 4.4.2 FELIX GAETA .......................................................................................................................... 68 4.4.3 HELENA CAIN ......................................................................................................................... 69 4.4.4 GALEN TYROL ........................................................................................................................ 70 4.4.5 EIGHT ..................................................................................................................................... 71 4. 5 VYHODNOCENÍ PSYCHOLOGIZACE EXISTENT Ů......................................................................... 73 5. NARATIVNÍ ANALÝZA – NARATIVNÍ LINIE........................................................................................ 73 5. 1 FIK ČNÍ SV ĚT BSG A JEHO STATICKÉ UDÁLOSTI .......................................................................... 75 5. 2 FIK ČNÍ SV ĚT BSG A JEHO PROCESUÁLNÍ UDÁLOSTI ................................................................. 76 5.2.1 PRVNÍ ŘADA ....................................................................................................................... 76 5.2.2 DRUHÁ ŘADA ..................................................................................................................... 79 5.2.3 TŘETÍ ŘADA........................................................................................................................ 81 5.2.4 ČTVRTÁ ŘADA ................................................................................................................... 84 5. 3. PROM ĚNA ÚHLU POHLEDU V BSG ............................................................................................... 86 6. ZÁV ĚR............................................................................................................................................................. 87 SEZNAM POUŽITÉ LITERATURY ............................................................................................................... 89 INTERNETOVÉ ZDROJE................................................................................................................................ 90 SEZNAM CITOVANÝCH AUDIOVIZUÁLNÍCH D ĚL................................................................................ 91 ANOTACE........................................................................................................................................................... 91 3 1. ÚVOD Televizní seriály pat ří mezi d ůležité členy televizní produkce tak řka od po čátku televizního vysílání. Jedním z jejich tradi čních žánr ů je v ědecká fikce, lépe známá pod zkratkou sci-fi, nebo v našem p řípad ě SF TV. Sou částí sci-fi je i subžánr zvaný space opera (domestikovan ě „vesmírná opera“, v práci se držím p ůvodního anglického pojmenování). Kulturní otisk SF TV je patný nap říklad z toho, že mainstremový magazín Time v ěnoval titulním postavám dvou seriál ů Star Trek jednu ze svých pov ěstných titulních stran. 1 Po úst řední vesmírné lodi Enterprise byl pojmenován existující prototyp vesmírného raketoplánu agentury NASA 2, stejn ě jako jedna z prvních privátních kosmických lodí VSS Enterprise spole čnosti Virgin Galactic. 3 Ojedin ělý kulturní impakt seriálu Star Trek ovšem nutn ě neznamená ovace pro celý jeho televizní subžánr, o čemž vypovídá, že jiné space opery se podobného dopadu nedo čkaly. Doba se ovšem m ění a spolu s ní i p řístup kultury, publika a pr ůmyslu k televizní tvorb ě. Význam sou časné televize jako „úst ředního vyprav ěč e v soudobé americké spole čnosti “4 je evidentní i s přihlédnutím k novým typ ům médií, p řičemž nové trendy sebou táhnou i programy, které pat ří do program ů ur čených minoritnímu publiku, tedy i space operu. Jak argumentuje Allrath a Gymnich, p řístup k tvorb ě televizních text ů se od roku 1990 m ění kv ůli novým technologickým možnostem 5. Z naratologického hlediska p řitom sou časné televizní seriály stále výrazn ěji kladou d ůraz na serializované vypráv ění v němž jednotlivé episody nedocházejí úplnému uzav ření 6. 1 William Shatner and Patrick Stewart, November 28, 1994 [online]. [1994] [cit. 16-11-2011]. Dostupný z digitálního archivu Time: <http://www.time.com/time/covers/0,16641,28-11- 1994,00.html>. 2 Shuttle Orbiter Enteprise (OV-101), March 18, 1994 [online]. [1994] [cit. 16-11-2011]. Dostupný z digitálního archivu Kennedy Space Center Science and Technology Home Page <http://science.ksc.nasa.gov/shuttle/resources/orbiters/enterprise.html>. 3 VSS Enterprise Completes First Manned Glide Flight, October 10, 2010 [online]. [2010] [cit. 16-11- 2011]. Dostupný z digitálního archivu Virgin Galactic.: <http://www.virgingalactic.com/news/item/vss-enterprise-completes-first-manned-glide-flight/>. 4 KOZLOFF, Sarah. Narrative Theory and Television. In ALLEN, Rober C. (ed.). Channels of Discourse, Reassembled: Television And Contemporary Criticism . Routledge: 1992, s. 67. ISBN 0415080592.
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