Blokování herců při režii filmů spadajících do žánru crime thriller

This bachelor’s thesis examines the topic of Actor blocking withing movies that fall into the genre of crime thriller. The main focus is directorial choreography which helps define the overall impression a scene leaves in the viewer. The thesis refers to this approach as blocking. The main aim of the thesis is to confirm or disprove the effectivness of these techniques as one of the main building blocks of preparing a scene corresponding to a specific archetype and in result create recommendations for new works falling under the defined genre. The first part of this thesis consists of a literature review on the topic of blocking and the crime thriller genre. Based on these findings, an analytical process for creating a database of works is defined, within which the analysis of blocking is conducted. Using the results of the analysis of sample scenes from the works in the database, corresponding study scenes are created that employ the same techniques but limit the use of other cinematic elements. The production techniques of these scenes are neutral so that their impact on the viewer is not distorted. The example and study scenes are divided into the categories at the table, advantage, and colleagues. Each category contains three types of scenes. The scenes are numbered from 1.1 to 3.3. The example and study scenes are then included in a questionnaire, in which the respondent selects from a series of feelings they perceive from the characters in the scene. These feelings are selected based on the genre’s typology and correspond to how the viewer is supposed to feel within the defined genre. The questionnaire results are then compiled, and the responses for the corresponding example and study scenes are compared. Based on this comparison, the effectiveness of the blocking itself is evaluated. The resulting recommendations apply to scenes 1.1, 1.3, and 3.1, in which the author finds the effectiveness of blocking to be sufficiently significant to name it as a fundamental building block of the scene. In these scenes, a leadership figure and an antagonist face off against each other; in version 1.1, the leader is calm and the antagonist is calm and bold, while in version 1.3, the leader is nervous and the antagonist is calm. The third example is scene 3.1, where the viewer observes the contrast between an experienced and thorough detective and a hasty and inexperienced detective. For the creation of scenes of this type when preparing new audiovisual works in the crime thriller genre, the author recommends studying these examples and study scenes and applying the defined procedures. At the same time, the author notes that the results of the analysis of the study scenes (especially the at the table scenes) offer greater diversity of emotions, while the example scenes are mostly unambiguous. He thus formulates the theory that blocking conveys the scene’s central idea, while the dialogue and the context of other cinematic elements allow the viewer to narrow their perception to only the most important feeling the scene is intended to evoke.