The so-called raumplan, special space-structuring in the Muller's Villa in Prague, respecting function and symbolical importance of each room in the house, was Adolf Loos's specific understanding of functionalism. Unique solutions do not grow from the development of only one field, they are always a synthesis of changes in approach and the whole social consequences. Therefore, shooting the Villa is a journey across important areas of the scientific and social paradigm of the end of the 1920s. We build the Villa from thoughts: the film mirrors particular changes in mathematics, cinema and in the social role of media. It becomes archaeology of the mind at the end of 1920s. Appear in the film: Irena Reifová (sociologist, media scholar), Robert Babilon (mathematician), Martin Čihák (experimental filmmaker), Tomáš Ruta (photographer). Department of documentary film, FAMU - 1st year (auteur reportage)
Slightly meteorological film about creating, behaving and blustering of clouds, about how the invisible (e.g. water in atmosphere) can become visible and in what way formating of ideas is similar to that of clouds. Also a painter and a physicist participate, to talk about elements (the first one) and colours (the latter one). Film, that works with unique images of clouds, introduces metheorologists (who talk about creation and behavior of clouds and about a storm) and different people who have worked with clouds in some outstanding way – physicist Richard Feynman (who is an author of the biggest artificial cloud in the world – during testing the atomic bomb), painter Kazimir Malevich (suprematist, who adored abstract qualities of the visible), poet Sylvia Plath (who used clouds in her poems in a rare non-pathetic way), director Sergei Eisenstein (who found out that effect of flash can “give” a motion to motionless things) etc. In the film, also philosopher and biologist talk – they try to use a cloud as a metaphor of thought, they think about the similarities between the both. The whole story of the film starts with creation of the cloud, observes its existence, its blustering and finally peaceful white-blue sky – in the same time it is a story about creation of a thought, about its growing and clearing, than the conflict (a storm) comes and finally it either stands or disappears. Department of documentary film, FAMU-bachelor degree film.
Children of Stalinism
„CHILDREN OF STALINISM“are those who grew up in 50s in communist Czechoslovakia and experienced the Velvet Revolution. They opened up for the documentaries to give a testimony of the past. The communist regime robbed them of their childhood, they have often never seen one or both of their parents, or not until they came back from the communist prisons. They often ended up in the care of their relatives or in institutional care, at worst. They were labeled “children of the enemy”, or “criminals’ children” and were deprived of opportunities to get higher education, and condemned to live at the margins of the society. They were not guilty of anything, but had to live lives of sinners. This goes like a red thread through all fourteen 26 minutes long parts of “Children of Stalinism” series. The parts of the series are not only testimonies of political prisoners and their families as seen through the eyes of their children, but they also attempt to understand and mediate main protagonists’ life as they live it now and as it was shaped by their difficult past.
Intention to Enrich a Pure Mechanistical World
Prof. Petr Vopěnka is a worldwide famous Czech mathematician, author of many books concerning history of Math, geometry above all. He is an original thinker, connecting mathematics with philosophy. He has become recognized by the public for his invention of the largest number (the so-called Vopěnka's number) and for his brief career in politics - he was the first Education Minister after the 1989 revolution. His portrait works with fragments of everyday reality, trying to identify the abstract qualities that should inspire the spectator to begin a focused interpretation of the words that capture the personality of Vopěnka the mathematician. FAMU, Department of Documentary Film (2nd year - portrait)
Film essay about classical and postmodern supervision mechanisms. In the second half of the 18th century, Jeremy Bentham designed the model of a panopticon, a type of building that made supervision most effective. Panopticons were firstly used for prisons, places where supervision and punishment are the main functions. Secret services but also different surveillance technologies are the new panopticons. They can monitor, save and store data about people to identify them, to distinguish the location and time of people’s behaviour and actions. Architecture theorist, software expert, people who are or were monitored, or the former secret service agents explain their panoptical experience. Reading again Michel Foucault´s Discipline and Punish, through experience with different kinds of supervision, in the film we are looking for the perfect application of the panoptical principle.
Stolen (About Words)
Fooling around with the words stolen from J. F. Lyotard. Coming back and with the commentary about different communications. Conviction that words are far away from their meanings.
Sábato's Tunnel in the Story of Colours
Ernesto Sábato´s novel Tunnel told in the tale of one picture, which in its variations tells also the story of monochromatic and full-colored seeing.