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Title: Jacques Tati : Življenje kot igrišče Authors: ID Vrhovec, Boštjan (Mentor) More about this mentor... ID Hribernik, Jasna (Mentor) More about this mentor... ID Košir Popovič, Taja (Author) Files: Taja_Kosir_Popovic.pdf (2,11 MB) MD5: AF44FB9325E5338EA3BAB2E90C063705   Taja_Kosir_Popovic.zip (1,57 GB) MD5: EAE65D58D9F2F39671AC0F3DCFABFCC1   Language: Slovenian Work type: Bachelor thesis/paper Typology: 2.11 - Undergraduate Thesis Organization: AU - School of Arts Abstract: Diplomsko delo povezuje raziskovalni in praktični del. Išče stičišča med ustvarjalnim opusom režiserja Jacquesa Tatischeffa – Tatija in avtorskim kratkim igranim filmom Ondine, ki ga je avtorica zasnovala in režirala. Naloga govori nad navdušenjem subtilnega izražanja velikega umetnika Tatija. Njegov občutek za opazovanje ljudi ter vživljanje v njihovo psiho in značaje je avtorico nagovoril, da je tudi v svojem pristopu do raziskovanja možnosti oblikovanja značajev glavnih junakov filma Ondine globje vstopila v proučevanje vzvodov, ki narekujejo naše obnašanje, reakcije, interakcije. Prav tako jo je očarala Tatijeva sposobnost za vživljanje v komične, na trenutke absurdne prizore, ki jih spretno niza v nove, nenavadne situacije. Te gledalca presenetijo in nasmejijo. Ob estetiki, ki je brezčasna in zelo avtorsko zaznamovana, aktualna tako v času nastanka Tatijevih filmov kot danes, je prepoznala še eno stično točko s tem, kako v svojem avtorskem pristopu dojema prostor in čas, kaj zanjo pomeni lepota. V prvem, teoretičnem delu zato predstavlja Tatija in njegov umetniški opus in s tem zariše polje, znotraj katerega se giblje njen način ustvarjanja. Povezuje življenjsko pot režiserja in igralca, izbrane filme, nato pa se podrobneje posveti filmu Playtime in ključnim gradnikom, ki jih je avtor sestavil v neponovljiv filmski izraz. Drugi, praktični del, prikazuje avtoričino pot – zakaj in kako se je lotila snovanja filma Ondine, kaj jo je navdihovalo in kje je našla odgovore na ustvarjalne izzive pri Tatiju. Nadaljuje s predstavitvijo procesa priprav, snemanja in post-produkcije filma. Keywords: Film, Jacques Tati, estetika režija, scenografija, realnost, Ondine Place of publishing: Nova Gorica Year of publishing: 2018 PID: 20.500.12556/RUNG-3996-45983fcc-687a-3927-9ea2-e8e2f6346c81  COBISS.SI-ID: 5185787  NUK URN: URN:SI:UNG:REP:XXHVLU1U Publication date in RUNG: 02.08.2018 Views: 5557 Downloads: 214 Metadata:    Cite this work Plain text BibTeX EndNote XML EndNote/Refer RIS ABNT ACM Ref AMA APA Chicago 17th Author-Date Harvard IEEE ISO 690 MLA Vancouver : Copy citation

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Secondary language

Language:	English
Title:	Jacques Tati
Abstract:	This bachelor thesis connects research with practice and seeks out the intersections between the creative opus of director Jacques Tatischeff – Tati and the short feature film Ondine, written and directed by the author of this paper Taja Košir Popovič. The thesis is dedicated to the amazement of the subtleness of the great artist Tati’s expression. His sense for observing people and stepping into their psyche and character has inspired the author of this paper to dedicate herself to researching the levers that direct our behaviour, reactions and interactions, whilst designing her approach to exploring the various possibilities of crafting the personalities of the main characters of her feature film Ondine. She was also charmed by Tati’s ability to immerse the viewer into comical, sometimes absurd scenes, which he nimbly weaves into new and unusual situations that both surprise and entertain the viewer. The author has recognized the author’s timeless aesthetic, as relevant in his own age, as it is nowadays, as yet another bridge to the perception of time and space in her own work, and her understanding of beauty. In the first, theoretical part of the thesis, Tati and his creative opus are introduced. Thereby the living space of the author’s own form of expression is drawn. The life path of Tati as director and actor is summarized, and a selection of his films is presented. Afterwards, the thesis takes a deeper look into his feature film Playtime, and focuses on the key building blocks that the authors managed to assemble into an unrepeatable form of artistic expression. The second, practical part, presents the author’s artistic background – how and why she approached making Ondine, explains what inspired her and at which points she found the answers to her own creative challenges in Tati’s work. It continues with the presentation of the processes of preparation, filming and postproduction of Ondine.
Keywords:	Film, Jacques Tati, aesthetics, directing, scenography, reality, Ondine

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