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Helena Třeštíková's Long-Term Observational

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Helena Třeštíková's Long-Term Observational Masaryk University Faculty of Arts Department of Film Studies and Audiovisual Culture Maša Hilčišin Dervišević (FF TDDF Theory and History of Theatre, Film and Audio-Visual Culture Studies doctoral combined studies) Helena Třeštíková’s Long-term Observational Documentary Film: Monitoring the Effect of Authenticity in Representation (Doctoral dissertation) Supervisor: PhDr. Jaromír Blažejovský, Ph.D. Brno 2014 To my parents Content Acknowledgments ................................................................................................................... 6 Abstract ................................................................................................................................... 8 Chapter One: Introduction 1.0. General orientation and research objective ....................................................... 9 1.1. Practices involved in representation in the documentaries of Helena Třeštíková .................................................................................................. 13 1.1.1. Expository style in early works ...................................................................... 13 1.1.2. Formal techniques and representation(s) in Manželské etudy (1987) .......................................................................................... 15 1.1.3. Creating dramatic effect in Řekni mi něco o sobě .......................................... 19 1.1.4. Representations and structuring in the cycle Ženy na přelomu tisíciletí ........................................................................................... 22 1.1.5. Formal techniques and representation(s) in Manželské etudy (2006) .............................................................................................. 24 1.2. Case Studies .................................................................................................... 27 1.2.1. Case Study Marcela (2006) ............................................................................ 27 1.2.2. Case Study René (2008) .................................................................................. 28 1.2.3. Case Study Katka (2010) ................................................................................ 30 1.3. Literature Review ........................................................................................... 31 1.4. Methodology ................................................................................................... 34 3 Chapter Two: Observation as a practice 2.1. Observation as a practice: The formal strategies used in the production of meaning ............................................................................................... 38 2.2. Observation as a practice: Further readings of formal techniques ................. 43 2.3. Observation as a practice: Recurring images and producing dramatic effect .................................................................................... 48 2.4. Observation as a practice: Role of the spectator and monitoring the effect of authenticity ................................................................... 53 Chapter Three: Model for monitoring the effect of authenticity in the observational documentary films Marcela, René, and Katka 3.1. Model for monitoring the effect of authenticity in the observational documentary films Marcela, René, and Katka: Analysis of formal techniques .................................................................................... 61 Chapter Four: Analysis Marcela 4.1. Analysis Marcela: Structure of Marcela ........................................................ 67 4.2. Analysis Marcela: Spatial representation ....................................................... 71 4.3. Analysis Marcela: Communication ................................................................ 75 4.3.1. Marcela’s narration ........................................................................................ 80 4.3.2. Interviews ........................................................................................................ 82 4.4. Analysis Marcela: Camera shots .................................................................... 84 4.5. Analysis Marcela: Editing .............................................................................. 87 Chapter Five: Analysis René 5.1. Analysis René: Structure of René ................................................................... 91 5.2. Analysis René: Spatial representation ............................................................ 94 5.3. Analysis René: Communication ................................................................... 98 5.3.1. René’s narration ........................................................................................... 102 5.3.2. Letters ........................................................................................................... 103 5.3.3. Interviews ..................................................................................................... 105 5.3.4. René’s books ................................................................................................. 107 5.4. Analysis René: Camera shots ....................................................................... 108 5.5. Analysis René: Editing ................................................................................. 111 4 Chapter Six: Analysis Katka 6.1. Analysis Katka: Structure of Katka .............................................................. 116 6.2. Analysis Katka: Spatial representation ......................................................... 121 6.3. Analysis Katka: Communication .................................................................. 125 6.3.1. Katka’s narration .......................................................................................... 128 6.3.2. Interviews ...................................................................................................... 130 6.4. Analysis Katka: Camera shots ...................................................................... 133 6.5. Analysis Katka: Editing ................................................................................ 135 Chapter Seven: Effect of Authenticity in Marcela, René, and Katka 7.0. Effect of authenticity in Marcela, René, and Katka: Introductory note ...................................................................................................... 141 7.1. Effect of authenticity in Marcela, René, and Katka: Usage of formal techniques in representation .......................................................... 146 7.1.1. Structuring the story ..................................................................................... 146 7.1.2. Space ............................................................................................................. 150 7.1.3. Communication ............................................................................................. 153 7.1.4. Camera shots ................................................................................................. 155 7.1.5. Editing ........................................................................................................... 160 7.2. Effect of authenticity in Marcela, René, and Katka: Contractual model of film authenticity between the filmmaker and the spectator ...................... 163 Chapter Eight: Concluding note ....................................................................................... 170 Bibliography ....................................................................................................................... 173 Filmography ........................................................................................................................ 174 Appendix I [Interview with Helena Třeštíková / 11 November 2008] Appendix II [Interview with Helena Třeštíková / 20 April 2010] Appendix III [Interview with Helena Třeštíková / 6 February, 2012] Appendix IV [Interview with Helena Třeštíková / 30 April, 2013] 5 ACKNOWLEDGMENTS My primary thanks goes to my supervisor Dr Jaromír Blažejovský for his advice, mentoring, and for giving me the opportunity to work on this project. I am also grateful to all my colleagues from the Department of Film Studies and Audiovisual Culture for their encouragement, valuable input and furthermore, the inspiration to continue to work on this research. Thanks also to Dr Pavel Skopal, Dr Lucie Česálková, and Mgr Dominika Prejdová for additional academic support, providing the precious literature and their time, and to Mgr Anezka Novak, Mgr Herbert van Lynden, Julie O'Shea, Mgr Molly Radecki, and Ćazim Dervišević for their help with proof-reading. Additionally, I want to thank Ćazim Dervišević for all his assistance with image preparations, tables and diagrams. Thanks to documentary filmmaker Helena Třeštíková for her corpus of work, which inspired this documentary research journey, for being available for meetings and interviews, and for providing me with additional valuable materials. I would also like to thank my family and friends for their support. 6 I declare that I have worked on this thesis independently using only the sources listed in the bibliography. Brno, February 26, 2014 Maša Hilčišin Dervišević 7 ABSTRACT This study explores the use of formal techniques in the process of representation in the observational documentary films of Helena Třeštíková. In what ways do filmic conventions affect the final image of the social subjects? What kind of strategies, techniques and approaches does Třeštíková use in generating the final image?
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