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České resumé
Práce se zabývá kanadskou identitou zobrazenou ve vybraných kanadských filmech. Analyzovanými filmy jsou: Don Owen a jeho The Ernie Game (1967), Ted Kotcheff a The Apprenticeship of Duddy Kravitz (1974), John Paizs s The Big Crimewave (1985) a Don McKellar se svojí Last Night (1998). Ve všech filmech se objevují témata, kterými se kanadští režiséři opětovaně zabývají. Mezi tyto patří posedlost abnormálními sexuálními praktikami, neúspěšný a zdrcený hlavní hrdina, depresivní prostředí, zlomyslná a nebezpečná kanadská příroda, a moderní technologie ovlivňující životy všech obyvatel Kanady. Typickým rysem každého filmu je jeho dokumentární styl, čehož jsou kanadští režiséři vyhlášenými mistry. Důraz je také kladen na roli hudby, která dotváří atmosféru z větší části než mluvené slovo. První část práce se zabývá teoretickou stránkou identity a kanadské identity. Tyto teoretické poznatky jsou později aplikovány na kanadské prostředí. Druhá část se již věnuje samotným analýzám filmů a jejich porovnáním, které je uzavřeno shrnutím společných rysů kanadských filmů a prezentací výsledků diplomové práce.
Klíčová slova: Kanada, kanadský film, identita, technologie, neúspěšný hrdina, dokument, krajina, kanadský režisér, typický rys
English Résumé
The work is concerned with Canadian identity represented in selected Canadian films. The analysed films are: The Ernie Game (1967) by Don Owen, Apprenticeship of Duddy Kravitz (1974) by Ted Kotcheff, The Big Crimewave (1985) by John Paizs, and Last Night (1998) by Don McKellar. Common issues can be observed in all the films. All the directors in their oeuvre address obsessions with abnormal sexual variations, the main protagonist is frequently portrayed as a looser, the surroundings impress the audience as depressing, everybody in the film is aware of the eerie Canadian countryside, and modern technology which influences lives of all Canadians, not only those on the screen is criticized, both in positive and negative way. Another factor the films have in common is the documentary-like style which Canadians are claimed to be masters of. First part of the thesis is occupied with theoretical background and introducing the general notion of identity. The general concepts are also specifically applied to Canadian surrounding. The second part consists of the analyses of the respective films and summarizing the findings of the thesis.
Key words: Canada, Canadian film, identity, technology, loser, documentary, landscape, Canadian director, typical feature
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