{"id":159422,"date":"2026-07-27T04:23:13","date_gmt":"2026-07-27T04:23:13","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/159422\/"},"modified":"2026-07-27T04:23:13","modified_gmt":"2026-07-27T04:23:13","slug":"odyssea-rozdmychala-necekany-trend-proc-prazske-kino-imax-laka-divaky-z-cele-evropy-aktualne-cz","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/159422\/","title":{"rendered":"Odyssea rozdm\u00fdchala ne\u010dekan\u00fd trend. Pro\u010d pra\u017esk\u00e9 kino IMAX l\u00e1k\u00e1 div\u00e1ky z cel\u00e9 Evropy? \u2013 Aktu\u00e1ln\u011b.cz"},"content":{"rendered":"

Jakkoli Christopher Nolan<\/a> nen\u00ed jedin\u00fdm tv\u016frcem, kter\u00fd to\u010d\u00ed na IMAX form\u00e1t, rozhodn\u011b je re\u017eis\u00e9rem nejzvu\u010dn\u011bj\u0161\u00edho jm\u00e9na a nejv\u00edce konzistentn\u00edm. S\u00a0velkorozm\u011brov\u00fdm kinematografick\u00fdm syst\u00e9mem je spjat\u00fd p\u0159es 20 let. Hollywoodsk\u00fd hitmaker a z\u00e1rove\u0148 autorsk\u00fd tv\u016frce m\u00e1 ve filmov\u00e9m pr\u016fmyslu prominentn\u00ed pozici. <\/p>\n

Kdy\u017e si vyty\u010dil, \u017ee Odysseu coby v\u016fbec prvn\u00ed tv\u016frce hran\u00fdch film\u016f nato\u010d\u00ed kompletn\u011b v IMAX<\/a> form\u00e1tu (tradi\u010dn\u011b se form\u00e1ty st\u0159\u00eddaj\u00ed, prim\u00e1rn\u011b z kompozi\u010dn\u00edch d\u016fvod\u016f), byla pro n\u011bj vytvo\u0159ena speci\u00e1ln\u00ed kamera, nav\u00edc vychytan\u011b odhlu\u010dn\u011bn\u00e1. Stroj mamut\u00ed velikosti je toti\u017e stejnou m\u011brou hlasit\u00fd, tak\u017ee pro komorn\u00ed dialogov\u00e9 sc\u00e9ny dlouhou dobu p\u0159edstavoval p\u0159ek\u00e1\u017eku.\u00a0<\/p>\n

Zd\u00e1nliv\u011b jedin\u00fdm limitem se pro Nolana paradoxn\u011b stal fakt, \u017ee stop\u00e1\u017e del\u0161\u00ed ne\u017e t\u0159i hodiny u\u017e zkr\u00e1tka nen\u00ed pro fin\u00e1ln\u00ed projekci fyzicky mo\u017en\u00e1. \u010c\u00edm je ale IMAX tak speci\u00e1ln\u00ed? P\u0159edev\u0161\u00edm jde o ten technicky nejkvalitn\u011bj\u0161\u00ed obraz. Digit\u00e1l je oproti analogu v\u00fdrazn\u011b ztr\u00e1tov\u00fd, filmov\u00fd p\u00e1s tak pixely svou kvalitou nikdy nedostihnou. Vid\u00edme ka\u017ed\u00fd chlup, ka\u017ed\u00fd p\u00f3r, ka\u017edou jizvu. By\u0165 si spojujeme IMAX prim\u00e1rn\u011b s ohlu\u0161uj\u00edc\u00edmi spekt\u00e1kly, nejv\u00edce fascinuj\u00edc\u00ed je pr\u00e1v\u011b zachycen\u00ed lidsk\u00fdch tv\u00e1\u0159\u00ed.\u00a0<\/p>\n

Nen\u00ed v\u0161ak IMAX jako IMAX. Drtiv\u00e1 v\u011bt\u0161ina projekc\u00ed ve specializovan\u00fdch IMAX kinech je digit\u00e1ln\u00ed. Ty jsou kvalitativn\u011b logicky hor\u0161\u00ed a s trochou nads\u00e1zky n\u00e1m zbyde jen \u201cvelk\u00fd obr\u00e1zek\u201d. Ale i ten je men\u0161\u00ed. Sedmdes\u00e1timilimetrov\u00fd IMAX m\u00e1 pom\u011br stran 1.43:1, laserov\u00e1 alternativa se v drtiv\u00e9 v\u011bt\u0161in\u011b dr\u017e\u00ed 1.90:1. Obraz analogov\u00e9ho IMAXu je pak o 40 % v\u011bt\u0161\u00ed ne\u017e klasick\u00e1 \u0161iroko\u00fahl\u00e1 projekce. IMAX se tak\u00e9 oproti ostatn\u00edm prom\u00edt\u00e1 horizont\u00e1ln\u011b.\u00a0<\/p>\n

Z\u00e1\u017eitek, kter\u00fd si doma nem\u016f\u017eete dop\u0159\u00e1t\u00a0<\/p>\n

P\u0159eprava robustn\u00edch kotou\u010d\u016f je ale n\u00e1kladn\u00e1, v \u0159\u00e1dech des\u00edtek tis\u00edc korun. I z toho d\u016fvodu se do \u010ceska (kter\u00e9 se je\u0161t\u011b do ned\u00e1vna py\u0161nilo jedin\u00fdm kinem v\u00a0EU, je\u017e nab\u00edzelo analogov\u00fd z\u00e1\u017eitek) dost\u00e1vaj\u00ed kotou\u010de jen sporadicky, p\u0159i\u010dem\u017e jde tak\u0159ka v\u00fdhradn\u011b o Nolanovy filmy. Na konci roku u n\u00e1s ale zakotv\u00ed t\u0159eba i t\u0159et\u00ed Duna. Hlad po exkluzivn\u00edm z\u00e1\u017eitku je toti\u017e velk\u00fd. Touha po spekt\u00e1klu a snaha (\u010di dokonce nutnost) nab\u00eddnout publiku n\u011bco, co dom\u00e1c\u00ed sledov\u00e1n\u00ed nem\u016f\u017ee vynahradit, existuj\u00ed u\u017e od boomu televize v 50. letech.\u00a0<\/p>\n

\"Z<\/p>\n

Z filmu Odyssea (2026) Christophera Nolana.Foto: CinemArt \u2013 Melinda Sue Gordon\/Universal Pictures<\/p>\n

Tehdy se z\u00e1\u0159\u00edc\u00ed bed\u00fdnky staly st\u00e1lic\u00ed pomalu ka\u017ed\u00e9 americk\u00e9 dom\u00e1cnosti. Jak na to reagovala studia? Stereofonn\u00edm zvukem a ob\u0159\u00edmi pl\u00e1tny. Do hry p\u0159i\u0161el sedmdes\u00e1timilimetrov\u00fd film, nab\u00edzej\u00edc\u00ed neoby\u010dejn\u011b \u0161irok\u00e9 vyu\u017eit\u00ed. N\u00e1m\u011bty se logicky staly historick\u00e9 opusy. Desatero p\u0159ik\u00e1z\u00e1n\u00ed (1956), Ben Hur (1959) nebo Kleopatra (1963) mohly naplno demonstrovat nov\u00e9 obrazov\u00e9 mo\u017enosti. Ohlu\u0161uj\u00edc\u00ed velkolepost dok\u00e1zala div\u00e1ky odlepit od televize. A experimentovalo se i s dal\u0161\u00edmi vychyt\u00e1vkami.\u00a0<\/p>\n

\"Velkolep\u00fd<\/p>\n

Velkolep\u00fd sn\u00edmek Kleopatra (1963) s Elizabeth Taylorovou v hlavn\u00ed roli demonstroval nov\u00e9 obrazov\u00e9 mo\u017enosti filmu.Foto: 20th Century Fox<\/p>\n

Vzpome\u0148me l\u00edbezn\u011b bizarn\u00ed projekt Smell-O-Vision, jen\u017e spo\u010d\u00edval ve vypou\u0161t\u011bn\u00ed pach\u016f a v\u016fn\u00ed do kinos\u00e1lu, p\u0159i\u010dem\u017e tyto \u010dichov\u00e9 podn\u011bty m\u011bly i sv\u00e9 narativn\u00ed opodstatn\u011bn\u00ed, nap\u0159\u00edklad p\u0159\u00edtomnost z\u00e1por\u00e1ka byla signalizovan\u00e1 z\u00e1vanem tab\u00e1ku. Vr\u00e1til se tak\u00e9 3D obraz, jen\u017e se nap\u0159\u00ed\u010d d\u011bjinami kinematografie v\u017edy st\u0159\u00eddav\u011b vyno\u0159oval a zase mizel. I s velk\u00fdmi form\u00e1ty se experimentovalo ji\u017e v n\u011bm\u00e9 \u00e9\u0159e, tehdy \u0161irok\u00fd obraz zaji\u0161\u0165ovaly t\u0159i paraleln\u011b b\u011b\u017e\u00edc\u00ed prom\u00edta\u010dky, kde v\u0161ak \u010dasto doch\u00e1zelo k technick\u00fdm chyb\u00e1m, a nav\u00edc byl proces ohledn\u011b lidsk\u00fdch sil n\u00e1kladn\u00fd.\u00a0<\/p>\n

Kinematografie byla v\u017edy spjata s\u00a0jistou formou atrakc\u00ed. Ostatn\u011b coby pom\u00edjiv\u00e1 show tak\u00e9 za\u010d\u00ednala. IMAX vynalezen\u00fd na sklonku 60. let je ale zavr\u0161en\u00edm snah o ten nejdokonalej\u0161\u00ed obraz. Zprvu a dlouho l\u00e1kal prim\u00e1rn\u011b na uhran\u010div\u00e9 p\u0159\u00edrodopisn\u00e9 dokumenty. Plnohodnotn\u00fdm form\u00e1tem pro fik\u010dn\u00ed narativn\u00ed tituly se stal a\u017e v nov\u00e9m mil\u00e9niu, p\u0159edev\u0161\u00edm d\u00edky film\u016fm studia Warner Bros.<\/a> Nat\u00e1\u010den\u00ed je ale tak n\u00e1kladn\u00e9 a komplikovan\u00e9, \u017ee \u0161lo v\u017edy hlavn\u011b o luxus, v\u00fddobytek etablovan\u00fdch re\u017eis\u00e9r\u016f.\u00a0<\/p>\n

Velikost je dechberouc\u00ed, ale p\u0159\u00edb\u011bh nenahrad\u00ed\u00a0<\/p>\n

IMAX se nav\u00edc etabloval zrovna ve chv\u00edli, kdy doch\u00e1zelo ke glob\u00e1ln\u00ed digitalizaci kin. Okolo roku 2010 se v\u011bt\u0161ina kin za\u010dala zbavovat p\u016fvodn\u00edch 35mm prom\u00edta\u010dek a z digit\u00e1ln\u00edch projekc\u00ed se velmi rychle stal standard. IMAX tak nen\u00ed \u00fapln\u011b ozv\u011bnou star\u00fdch \u010das\u016f, \u017e\u00e1dn\u00fdm artefaktem. Sp\u00ed\u0161e v\u00fdsostn\u011b specifick\u00fdm form\u00e1tem bez del\u0161\u00ed tradice, jen\u017e v\u00a0digit\u00e1ln\u00ed dob\u011b pln\u00ed popt\u00e1vku po velkoobrazov\u00fdch z\u00e1\u017eitc\u00edch.\u00a0<\/p>\n

Nolan je z\u00a0tohoto \u00fahlu pohledu skute\u010dn\u00fdm pr\u016fkopn\u00edkem. Bez jeho batmanovsk\u00e9 trilogie by to form\u00e1t IMAX m\u011bl hodn\u011b t\u011b\u017ek\u00e9. Stoj\u00ed tedy cel\u00e9 to \u0161\u00edlenstv\u00ed za to? Nejde pouze o technofilsk\u00fd v\u00fdst\u0159elek? Ano i ne. Analogov\u00e9 zrn\u011bn\u00ed a dechberouc\u00ed velikost na prvn\u00ed pohled odzbroj\u00ed. Jakkoli pateticky to m\u016f\u017ee zn\u00edt, skute\u010dn\u011b na n\u00e1s p\u0159i sledov\u00e1n\u00ed d\u00fdchne onen \u00e9tos kinos\u00e1l\u016f. \u00dadiv sd\u00edlen\u00fd s pln\u00fdm hledi\u0161t\u011bm. Je n\u011bco fascinuj\u00edc\u00edho sledovat lidsk\u00e9 obry, kte\u0159\u00ed dramaticky shl\u00ed\u017eej\u00edc\u00ed z pl\u00e1tna dol\u016f na bav\u00edc\u00ed se smrteln\u00edky. <\/p>\n

Ov\u0161em to, co publikum bude v\u017edy t\u00e1hnout nejv\u00edce, je dob\u0159e odvypr\u00e1v\u011bn\u00fd a vtahuj\u00edc\u00ed p\u0159\u00edb\u011bh. Ten si m\u016f\u017eeme u\u017e\u00edt v komorn\u00ed i opulentn\u00ed podob\u011b, p\u0159i\u010dem\u017e v obou p\u0159\u00edpadech z\u00e1le\u017e\u00ed na zru\u010dnosti vyprav\u011b\u010de. Urputn\u011b h\u00e1jit tezi, \u017ee Odyssea nem\u00e1 bez IMAXu smysl, je samoz\u0159ejm\u011b nesmysl. Tenhle postoj m\u016f\u017ee p\u016fsobit elit\u00e1\u0159sky. I kdy\u017e velkoform\u00e1tov\u00e1 zku\u0161enost a men\u0161\u00ed obraz nab\u00edz\u00ed jin\u00e9 typy z\u00e1\u017eitk\u016f, esence z\u016fst\u00e1v\u00e1 stejn\u00e1. O to zaj\u00edmav\u011bj\u0161\u00ed je porovn\u00e1vat, jak a pro\u010d na n\u00e1s dv\u011b \u201cverze\u201d filmov\u00e9ho d\u00edla p\u016fsob\u00ed.\u00a0<\/p>\n

Form\u00e1ty by se v\u017edy m\u011bli dopl\u0148ovat, ne p\u0159ek\u0159ikovat. A u Odyssey se zd\u00e1nliv\u011b poda\u0159ilo trefit pr\u00e1v\u011b tuto ide\u00e1ln\u00ed symbi\u00f3zu. Pln\u00fd IMAX paraleln\u011b pln\u00ed i \u201coby\u010dejn\u00e1\u201d kina. Zna\u010dka velkoleposti, kterou Nolan nav\u00edc podvratn\u011b podkop\u00e1v\u00e1, jde s \u201eob\u0159\u00edm pol\u00ed\u010dkem\u201c ruku v ruce. A v\u017edy je p\u011bkn\u00e9 vid\u011bt, \u017ee analog nepat\u0159\u00ed do star\u00e9ho \u017eeleza a lid\u00e9 o n\u011bj st\u00e1le maj\u00ed z\u00e1jem, co\u017e tak n\u011bjak zapad\u00e1 do obecn\u00e9 popt\u00e1vky po retru a nostalgii. Nem\u011bli bychom v\u0161ak tyto zemit\u00e9 technologie p\u0159ehnan\u011b feti\u0161izovat, ve v\u00fdsledku jde v\u017edy o obsah.<\/p>\n","protected":false},"excerpt":{"rendered":"Jakkoli Christopher Nolan nen\u00ed jedin\u00fdm tv\u016frcem, kter\u00fd to\u010d\u00ed na IMAX form\u00e1t, rozhodn\u011b je re\u017eis\u00e9rem nejzvu\u010dn\u011bj\u0161\u00edho jm\u00e9na a nejv\u00edce…\n","protected":false},"author":2,"featured_media":159423,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[3],"tags":[19042,109,108,106,30608,16746,3844,16738],"class_list":["post-159422","post","type-post","status-publish","format-standard","has-post-thumbnail","category-evropa","tag-christopher-nolan","tag-europa","tag-europe","tag-evropa","tag-imax","tag-kinematografie","tag-kino","tag-trend"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116990037688979577","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/159422","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=159422"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/159422\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/159423"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=159422"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=159422"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=159422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}