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Trikový Film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton

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Trikový Film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ DIVADELNÍ FAKULTA ATELIÉR ROZHLASOVÉ A TELEVIZNÍ DRAMATURGIE A SCENÁRISTIKY Trikový film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton DIPLOMOVÁ PRÁCE Autor práce: BcA. Ţaneta Caletková Vedoucí práce: PhDr. Pavel Aujezdský Oponent práce: doc. MgA. Marek Hlavica, Ph.D Brno 2017 Bibliografický záznam CALETKOVÁ, Ţaneta.Trikový film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton (Trick film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton). Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2017. 149 s. Vedoucí práce PhDr. Pavel Aujezdský Anotace Diplomová práce s názvem „Trikový film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton“ se zaměřuje na význam triků ve filmu, dramaturgické souvislosti a rozdílné trikové postupy. Dále srovná práce jednotlivých tvůrců a postavení triků v souvislosti s obsahem. Nejedná se pouze o podrobný rozbor všech filmů zmíněných reţisérů, nýbrţ o uţší výběr. Práce se zabývá jak tím, co je pro jednotlivé reţiséry typické, tak i poetikou, kontrasty a podobnostmi mezi díly. Součástí práce je i kapitola, která se zabývá způsoby realizace některých triků. Annotation Diploma thesis „ Trick film: Karel Zeman, Steven Spielberg, Terry Gilliam, Tim Burton“ deals with the utmost importance of tricks in movies, dramaturgical context and different animation techniques. It also compares works of individual artists and several tricks in relation to the content. This thesis does not consist of detailed analyzes of all the movies that the selected directors have ever made; only couple of them were chosen. The thesis is focused on typical creative methods of selected directors and poetics, contrasts and similarities between individual films as well. Another part of this text is one chapter on ways of realization of some of the movie tricks. Klíčová slova Trik, film, Gilliam Terry, Zeman Karel, Spielberg Steven, Burton Tim Keywords Trick, film, Gilliam Terry, Zeman Karel, Spielberg Steven, Burton Tim Prohlášení Prohlašuji, ţe jsem předkládanou práci zpracoval/a samostatně a pouţil/a jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a pouţívána ke studijním účelům. Brně, dne … května 2017 ……………………… Ţaneta Caletková Poděkování Ráda bych poděkovala PhDr. Pavlu Aujezdskému za vedení práce, trpělivost a podnětné připomínky. Obsah ÚVOD .......................................................................................................................................................................................... 7 1. HISTORIE TRIKOVÉHO FILMU ............................................................................................................................. 10 1.1 POČÁTKY TRIKOVÉHO FILMU…………………………………………………………10. 1.2 FILMOVÉ ATELIÉRY U NÁS…………………………………………………………………12 2. VYBRANÍ REŢISÉŘI .................................................................................................................................................. 13 2.1 KAREL ZEMAN ……………………………………………………………………………13 2.2 TERRY GILLIAM ………………………………………………………………………………17 2.3 TIM BURTON …………………………………………………………………………………20 2.4 STEVEN SPILEBERG …………………………………………………………………………..23 3. PODROBNĚJŠÍ ROZBOR VYBRANÝCH FILMŦ ...................................................................................................... 27 3.1 KAREL ZEMAN: ROZBOR FILMŮ …………………………………………………………27 3.1.1 CESTA DO PRAVĚKU (1955) ...................................................................................................................... 29 3.1.2 VYNÁLEZ ZKÁZY (1958) .............................................................................................................................. 33 3.1.3 BARON PRÁŠIL (1961) ................................................................................................................................. 41 3.1.4 UKRADENÁ VZDUCHOLOĎ (1966) ........................................................................................................... 52 3.1.5 NA KOMETĚ (1970) ..................................................................................................................................... 56 3.2 TERRY GILLIAM: ROZBOR FILMŮ ……………………………………………………………………61 3.2.1 DOBRODRUŢSTVÍ BARONA PRÁŠILA (1988) ............................................................................................ 64 3.2.2 KLETBA BRATŘÍ GRIMMŦ (2005) .............................................................................................................. 68 3.2.3 IMAGINÁRIUM DR. PARNASSE (2009) ...................................................................................................... 75 3.3 TIM BURTON: ROZBOR FILMŮ…………………………………………………………………80 3.3.1 STŘIHORUKÝ EDWARD (1990) .................................................................................................................. 81 3.3.2 OSPALÁ DÍRA (1999) ................................................................................................................................... 87 3.3.3 KARLÍK A TOVÁRNA NA ČOKOLÁDU (2005) ............................................................................................ 91 3.3.4 ALENKA V ŘÍŠI DIVŦ (2010) ....................................................................................................................... 96 1.2 STEVEN SPILEBERG: ROZBOR FILMŮ……………………………………………………………………102 3.1.1 INDIANA JONES A DOBYVATELÉ ZTRACENÉ ARCHY (1981) ............................................................... 108 3.1.2 E. T. MIMOZEMŠŤAN (1982) ..................................................................................................................... 112 3.1.3 A. I. UMĚLÁ INTELIGENCE (2001) ........................................................................................................... 117 4. PŘÍKLADY VÝVOJE TRIKOVÝCH TECHNIK ................................................................................................... 121 1.1 KAREL ZEMAN A JEHO CESTA DO PRAVĚKU (1955): SCÉNA S MAMUTEM A DALŠÍ…………………121 1.2 JAK SE DĚLAL JURSKÝ PARK STEVENA SPIELBERGA (1993)……………………………………………125 1.3 TIM BURTON A KARLÍK A TOVÁRNA NA ČOKOLÁDU (2005) ……………………………………………132 1.3 TERRY GILLIAM A IMAGINÁRIUM DR. PARNASSE (2009) ………………………………………………137 ZÁVĚR .................................................................................................................................................................................... 142 POUŢITÉ INFORMAČNÍ ZDROJE .................................................................................................................................... 145 SEZNAM ILUSTRACÍ .......................................................................................................................................................... 150 6 ÚVOD Lidská touha ovládat všechny ţivly, zemi, vzduch, oheň a vodu je známá od nepaměti. Svou hmotnou podstatou jsou lidé připoutáni k zemi, nejdříve své představy uplatňovali v lidové slovesnosti v písních, bájích a pohádkách. V pohádkách ovládli vzduch pomocí létajícího koberce, ve vodě si vymysleli podvodní království a v něm vodníky a rusalky. Rychlosti bylo dosaţeno sedmimílovými botami, neviditelnosti kouzelným pláštěm, oheň nazývali červeným kohoutem, který vyletěl na střechu hořícího domu. A to nemluvím o antice, kde všechno na zemi řídili bohové, které bylo potřeba si naklonit dary a uctíváním. V jedné básni napsal básník, ţe lidé zabijí své sny tím, ţe je uskuteční (Jiří Wolker). Sny jsou zabité, stávají se skutečností. To se postupně stalo pomocí vědy. Kde zůstává místo pro fantazii? Toho je stále dost. Spisovatelé jsou lidé, kteří v oblasti fantazie zůstávají stále dětmi. Ale jak si s přepisem na filmové plátno mají s jejích díly poradit filmaři? To se, podle mého soudu, podařilo těm reţisérům, o kterých jsem se rozhodla napsat svou diplomovou práci. Není bez zajímavosti, ţe uvedení reţiséři měli výtvarné nadání a vzdělání a velkou představivost, uměli spojit kresbu, loutku, herce, a vytvořit tak „ pohádkový“ svět pro děti i dospělé, ke kterému se dnešní lidé, obklopení technikou, rádi vracejí. Kdyţ vědci a techničtí pracovníci vytvářejí své vynálezy, musí rovněţ umět vyuţívat své flastní fantazie. Ta vţdy předchází vynálezu. V této práci se zaměřuji na trikový film a tvorbu konkrétních čtyř reţisérů: Karla Zemana, Terryho Gilliama, Tima Burtona a Stevena Spielberga. Volba padla právě na tyto čtyři osobnosti, protoţe se ve svých filmech často zabývali podobnou tématikou, a mnohdy se u nich projevil i podobný přístup k tvorbě. Kaţdý má svůj vlastní rukopis, podle kterého jej divák snadno pozná, opakované prvky, ale Karel Zeman do určité míry inspiroval zbývající tři reţiséry a všichni se o něm někdy v souvislosti se svou tvorbou zmínili. Zároveň se jedná o velmi výraznou osobnost, která u nás rozvíjela vývoj trikového filmu. Zeman kombinoval loutku a ţivého herce a zaujal ke své práci postoj, který se později stal vlastním i pro Terryho Gilliama. „ Spojením ţivého herce se svobodně řešeným výtvarným prostředím byly vráceny hodnoty, ze kterých kdysi těţil méliésovský věk filmové fantazie: dětsky 7 prostá, svěţí a zcela svobodná obraznost, neomezená volba témat, motivŧ a prostředí,“ 1 popisuje Karel Zeman v knize L. Zemanové. Gilliam prohlásil něco velmi podobného ohledně svobody představivosti. S oblibou nechává svým divákům dostatek prostoru na to, aby si jejich fantazie domalovala zbytek příběhu – nepředkládá před ně sled obrazů
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