"142729" . . "S" . . . "V \u010Dl\u00E1nku se v\u011Bnuji \u010Dtvrt\u00E9mu z dosud p\u011Bti film\u016F americk\u00E9ho re\u017Eis\u00E9ra Terrence Malicka (1943), nazvan\u00E9mu The New World (2005).1 Hlavn\u00EDm z\u00E1m\u011Brem je uk\u00E1zat na jeho p\u0159\u00EDkladu n\u011Bkter\u00E9 aspekty vztahu mezi vizualitou a textualitou. V p\u0159edb\u011B\u017En\u00FDch pozn\u00E1mk\u00E1ch nejprve upozor\u0148uji na obecn\u011Bj\u0161\u00ED probl\u00E9m poj\u00EDm\u00E1n\u00ED filmu jako textu. Druh\u00E1 kapitola je v\u011Bnov\u00E1na narativn\u00EDmu obsahu Nov\u00E9ho sv\u011Bta s d\u016Frazem na setk\u00E1n\u00ED evropsk\u00E9 kultury s kulturou p\u0159edliter\u00E1rn\u00ED, jeho\u017E personifikac\u00ED je vztah mezi Johnem Smithem a Pocahontas. Ve t\u0159et\u00ED a kl\u00ED\u010Dov\u00E9 kapitole je t\u00E9matem Malickova filmov\u00E1 stylistika, p\u0159i\u010Dem\u017E se op\u00EDr\u00E1m o tezi, \u017Ee konstitutivn\u00EDm motivem re\u017Eis\u00E9rovy tvorby je nap\u011Bt\u00ED mezi slovem, je\u017E je antropocentrick\u00E9, a fotografick\u00FDm obrazem, jeho\u017E potenci\u00E1l je kosmocentrick\u00FD. Speci\u00E1ln\u00ED pozornost v\u011Bnuji motivu \u0159eky." . "20"^^ . "RIV/61988987:17250/12:A120144H!RIV12-MSM-17250___" . "1"^^ . . "Into the Wild"@cs . "\u0160kabraha, Martin" . "V \u010Dl\u00E1nku se v\u011Bnuji \u010Dtvrt\u00E9mu z dosud p\u011Bti film\u016F americk\u00E9ho re\u017Eis\u00E9ra Terrence Malicka (1943), nazvan\u00E9mu The New World (2005).1 Hlavn\u00EDm z\u00E1m\u011Brem je uk\u00E1zat na jeho p\u0159\u00EDkladu n\u011Bkter\u00E9 aspekty vztahu mezi vizualitou a textualitou. V p\u0159edb\u011B\u017En\u00FDch pozn\u00E1mk\u00E1ch nejprve upozor\u0148uji na obecn\u011Bj\u0161\u00ED probl\u00E9m poj\u00EDm\u00E1n\u00ED filmu jako textu. Druh\u00E1 kapitola je v\u011Bnov\u00E1na narativn\u00EDmu obsahu Nov\u00E9ho sv\u011Bta s d\u016Frazem na setk\u00E1n\u00ED evropsk\u00E9 kultury s kulturou p\u0159edliter\u00E1rn\u00ED, jeho\u017E personifikac\u00ED je vztah mezi Johnem Smithem a Pocahontas. Ve t\u0159et\u00ED a kl\u00ED\u010Dov\u00E9 kapitole je t\u00E9matem Malickova filmov\u00E1 stylistika, p\u0159i\u010Dem\u017E se op\u00EDr\u00E1m o tezi, \u017Ee konstitutivn\u00EDm motivem re\u017Eis\u00E9rovy tvorby je nap\u011Bt\u00ED mezi slovem, je\u017E je antropocentrick\u00E9, a fotografick\u00FDm obrazem, jeho\u017E potenci\u00E1l je kosmocentrick\u00FD. Speci\u00E1ln\u00ED pozornost v\u011Bnuji motivu \u0159eky."@cs . "1"^^ . . . . . "Into the Wild" . "RIV/61988987:17250/12:A120144H" . "Into the Wild"@cs . "Into the Wild" . . "9" . "Slovo a smysl. \u010Casopis pro mezioborov\u00E1 bohemistick\u00E1 studia" . "17" . "image and word; film theory; textuality; vizuality; Terrence Malick; The New World; Pocahontas"@en . "[3A47D303D7FE]" . "My article deals with Terrence Malick?s 2005 film The New World in respect to the relationship between textuality and vizuality. At first I reflect the problem of analyzing a film as a kind of text. In the following part I elaborate on the narative content of the movie. I draw attention to the encounter of cultures, one of which is written, with scientific knowledge and the practice of diary?writing at its disposal, while the other is pre?literary and exercises body?language broadly. This is personalized in John Smith?s and Pocahontas? lovestory. In the final chapter I concentrate on Malick?s stylistics, especially on the way he uses vizual, audial and textual elements to craft his aesthetically and semanticly rich montage. Among others, attention is paid to the motif of river against the flow of which John Smith is leading his way into the wild, going at the same time to his very self, his America."@en . "Into the Wild: Image and Word in Terrence Malick's Film The New World"@en . "Into the Wild: Image and Word in Terrence Malick's Film The New World"@en . . . "17250" . . . . . . "1214-7915" . "CZ - \u010Cesk\u00E1 republika" . . . .