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Jiří Menzel Ostre Sledované Vlaky/ Closely Watched Trains 1966 93
October 16, 2007 (XV:8) Jií Menzel Ostre sledované vlaky/ Closely Watched Trains 1966 93 minutes Directed by Jií Menzel Written by Bohumil Hrabal (also novel), Jirí Menzel Produced by Zdenek Oves and Carlo Ponti Original Music by Jirí Sust Cinematography by Jaromír Sofr Film Editing by Jirina Lukesová Václav Neckár... Trainee Milos Hrma Josef Somr...Train dispatcher Hubicka Vlastimil Brodsk...Counselor Zednicek Vladimír Valenta...Stationmaster Max Alois Vachek...Novak Ferdinand Kruta... Masa's Uncle Noneman Jitka Bendová...Conducteress Masa Jitka Zelenohorská...Zdenka Nada Urbánková...Victoria Freie Libuse Havelková...Max's wife Kveta Fialová...The countess Pavla Marsálková...Mother Milada Jezková...Zdenka's mother Academy Award for Best Foreign Language Film JIÍ MENZEL (23 February 1938, Prague, Czechoslovakia) has directed 26 films and acted in many more. Some of the films he directed are Obsluhoval jsem anglického krále/ I Served the King of England (2006), Zebrácká opera/The Beggar’s Opera (1991), Konec starych casu/The End of Old Times (1989), Postriziny/Cutting it Short (1981), Promeny krajiny/Altered Landscapes (1974), Zlocin v dívcí skole/Crime at the Girls School (1965), and Domy z panelu/Prefabricated Houses (1960). from World Film Directors, Vol. II. Ed. John Wakeman. The H.W. Wilson Company NY 1988 Jií Menzel (February 12, 1938— ), Czech film and theatre director, scenarist, and actor, was born in Prague. He is the son of Josef Menzel, a journalist who became a children’s author and then turned to writing scripts for puppet -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque A Dissertation Presented by Lilla T!ke to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University May 2010 Copyright by Lilla T!ke 2010 Stony Brook University The Graduate School Lilla T!ke We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. E. Ann Kaplan, Distinguished Professor, English and Comparative Literary and Cultural Studies, Dissertation Director Krin Gabbard, Professor, Comparative Literary and Cultural Studies, Chairperson of Defense Robert Harvey, Professor, Comparative Literary and Cultural Studies and European Languages Sandy Petrey, Professor, Comparative Literary and Cultural Studies and European Languages Katie Trumpener, Professor, Comparative Literature and English, Yale University Outside Reader This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque by Lilla T!ke Doctor of Philosophy in Comparative Literature Stony Brook University 2010 The dissertation examines the legacies of grotesque comedy in the cinemas of Eastern Europe. The absolute non-seriousness that characterized grotesque realism became a successful and relatively safe way to talk about the absurdities and the failures of the communist system. This modality, however, was not exclusive to the communist era but stretched back to the Austro-Hungarian era and forward into the Postcommunist times. -
Surrealism in and out of the Czechoslovak New Wave
Introduction Surrealism In and Out of the Czechoslovak New Wave Figure I.1 A poet’s execution. A Case for the Young Hangman (Případ pro začínajícího kata, Pavel Juráček, 1969) ©Ateliéry Bonton Zlín, reproduced by courtesy of Bonton Film. 2 | Avant-Garde to New Wave The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960s was described at the time as the ‘Czech film miracle’. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. As we shall see, Surrealism was by no means the only avant-garde tradition to make a significant impact on this cinema. But it did have the most pervasive influence. This is hardly surprising, as Surrealism has been the dominant mode of the Czech avant-garde during the twentieth century, even if at certain periods that avant-garde has not explicitly identified its work as Surrealist. Moreover, the very environment of the Czech capital of Prague has sometimes been considered one in which Surrealism was virtually predestined to take root. The official founder of the Surrealist movement, André Breton, lent his imprimatur to the founding of a Czech Surrealist group when he remarked on the sublimely conducive locality of the capital, which Breton describes as ‘one of those cities that electively pin down poetic thought’ and ‘the magic capital of old Europe’.1 Indeed, it would seem a given that Czech cinema should evince a strong Surrealist tendency, especially when we consider the Surrealists’ own long-standing passion for this most oneiric of art forms. -
Eurimages Supports 13 European Co-Productions
Press Release Directorate of Communication Ref: 699a09 Tel. +33 3 88 41 25 60 Fax +33 3 88 41 39 11 Internet: www.coe.int e-mail: [email protected] 47 member States Eurimages supports 13 European co-productions Albania Strasbourg, 28.09.2009 - At its 116th meeting, held from 22 to 25 September 2009 in Andorra Strasbourg, the Board of Management of the Council of Europe's Eurimages Fund Armenia agreed to support the co-production of 13 feature films for a total amount of Austria 5 140 000 Euros: Azerbaijan Belgium Kai Apkabinsiu Tave - Kristijonas Vildziunas (Lithuania) Bosnia and Herzegovina (Lithuania, Poland) Bulgaria Az Ajto - Istvan Szabo (Hungary) Croatia (Hungary, Germany) Cyprus Habemus Papam - Nanni Moretti (Italy) Czech Republic (Italy, France) Denmark Our Grand Despair - Seyfi Teoman (Turkey) Estonia (Turkey, Germany, Netherlands) Finland Cirkus Columbia - Danis Tanovic (Belgium/Bosnia and Herzegovina) France (France, Bosnia and Herzegovina, United Kingdom, Germany, Slovenia, Georgia Belgium) Germany Ernest et Célestine - Vincent Patar & Stéphane Aubier (Belgium), Benjamin Renner Greece (France) Hungary (France, Belgium, Luxembourg) Animation film Iceland Tambien La Lluvia - Iciar Bollain (Spain) Ireland (Spain, France) Italy The Children's Republic - Flora Gomes (Portugal) Feature film for children Latvia (Portugal, France) Liechtenstein Limbo - Maria Sodahl (Norway) Lithuania (Norway, Denmark, Sweden) Luxembourg Snowhite - Pablo Berger (Spain) Malta (Spain, France) Moldova Waiting for the sea - Bakhtiar Khoudoinazarov (Russia -
Folklórne Prvky Vo Filmoch Juraja Jakubiska
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér rozhlasové a televizní dramaturgie a scenáristiky Rozhlasová a televizní dramaturgie a scenáristika Folklórne prvky vo filmoch Juraja Jakubiska Bakalářská práce Autor práce: Tatiana Urbanová Vedoucí práce: MgA. Hana Slavíková Ph.D. Oponent práce: prof. Mgr. Jan Gogola Brno 2012 1 Bibliografický záznam URBANOVÁ, Tatiana. Folklórne prvky vo filmoch Juraja Jakubiska [Folk elements in films by Juraj Jakubisko]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2012. 52 s. Vedoucí diplomové práce MgA. Hana Slavíková Ph.D. Anotace Bakalárska práca „Folklórne prvky vo filmoch Juraja Jakubiska“ pojednává o prvkoch ľudovej umeleckej tvorby zachytených vo filmových dielach Juraja Jakubiska. A to konkrétne vo filmoch Kristove roky, Perinbaba, Zbehovia a pútnici a Tisícročná včela. Mojim cieľom je zistiť s akým zámerom autor prvky ľudovej umeleckej tvorby využíva, ako a kvôli čomu ich zobrazuje, aký dôraz a význam im kladie. Annotation „Folk elements in films by Juraj Jakubisko“ The subject of this work is to examine various folk elements captured in the film art of Juraj Jakubisko, specifically in the following films : Kristove roky; Preninbaba; Zbehovia a pútnici; Tisícročná včela. My goal is to find out what is behind Jakubisko´s intention to include folk elements, how and why they are depicted in the films and what emphases and reasons are given to them. Klíčová slova Juraj Jakubisko, Folklór, Slovenský folklór, Slovenský film, Tradičné ľudové umenie, Filmové umenie Keywords Juraj Jakubisko, Folklore, Slovak folklore, Slovak film, Folk art, Film art 2 Prehlásenie Prehlasujem, že som predkladanú prácu spracovala samostastne a použila som uvedené informačné zdroje. -
The Films of Věra Chytilová
DEFIANCE AND COMPASSION: THE FILMS OF VĚRA CHYTILOVÁ Tuesday 27 January 2015, London The late great avant-garde Czech film director Věra Chytilová will be celebrated with a season of films at BFI Southbank from 1 – 17 March 2015, marking a year since her death in March 2014. Aside from her experimental farce Daisies (1966), Chytilová’s work is relatively unknown in the UK and this season offers audiences a rare chance to celebrate the life and work of a true original and a pioneer of Czech cinema. Chiytilová’s early cinéma-vérité-style films A Bagful of Fleas (1962) and Ceiling (1962) introduced two main themes demonstrated across her almost 40 year career; the feminine point of view in a world dominated by men and a strong critique of contemporary society. A pioneer of women’s cinema, Chytilová thought it natural to use her female perspective and experience, although she didn’t see herself as a feminist. Never one to hesitate, she played on stereotypes associated with women, exploiting the fear of feminine hysterics and famously threatening to jump out of the window in front of state officials when she struggled to get her unorthodox films financed or released. Chytilová’s best known film Daisies (1966), in which two teenage girls embark on a series of destructive pranks, so shocked the Czechoslovak government that it withheld its release for a whole year. Strong social criticism and experimental form, together with Chytilová’s active criticism of the Soviet occupation led to a ban from studios for six years. Choosing to stay in Czechoslovakia, preferring to ‘battle the system from within its confines’, she returned to work in 1976 after making a personal appeal to the Czechoslovak president Gustáv Husák, who gave her the green light to make The Apple Game (1976). -
The Films of Věra Chytilová
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2004 Living With the Truth: The iF lms of Věra Chytilová Ethan White SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Film and Media Studies Commons Recommended Citation White, Ethan, "Living With the Truth: The iF lms of Věra Chytilová" (2004). Independent Study Project (ISP) Collection. 515. https://digitalcollections.sit.edu/isp_collection/515 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. LIVING WITH THE TRUTH: THE FILMS OF VĚRA CHYTILOVÁ // BY ETHAN WHITE // ADVISOR // PhDr. ZDENA ŠKAPOVÁ FALL 2004 CZECH REPUBLIC // ARTS AND SOCIAL CHANGE ACADEMIC DIRECTORS // EVA VALENTA AND LUKE BOUVIER White // 2 ABSTRACT // Despite a career spanning five decades and numerous different sociopolitical atmospheres, Věra Chytilová’s films present a remarkably consistent outlook on contemporary life. This paper traces the defining characteristics of Chytilová’s work: her strong moralistic criticisms of contemporary society, her motif of paradise, which establishes a potent symbolic basis for said moral criticisms, and her relentless pursuit of new forms and desire to experiment with film language. This final point is also inextricably linked to her moral stance, as the bulk of her work was produced under the authority of a Communist regime that frowned severely upon work of an avant-garde or experimental nature. -
Jaromír Šofr on His Career VOL
INTERVIEW Jaromír Šofr on his Career VOL. 28 (APRIL 2013) BY JULIA ZELMAN Jaromír Šofr was a leading cinematographer of the Czech New Wave, working on all feature films of Jiří Menzel, including the famous “Closely Watched Trains,” as well as other notable films from different directors, like Věra Chytilová’s “Ceiling” or Karel Kachyňa’s “Long Live the Republic”. A graduate from FAMU, the national film school, Šofr made his way into the professional industry through peers and connections.Šofr speaks about his formation, his involvement in the New Wave, and working with directors of different styles and ages. How did you end up going to FAMU? Did your family expect you to go to school? You mean my family background? It’s very simple. My grandfather and my father, they were pharmacists. My grandfather founded a pharmacy in a small South Moravian town so my family background was very suitable for my career because I spent a happy childhood in a good family. But my father and my mother were victims of the Communist regime in our country, so the family was badly affected. The Communists wanted our property. After finishing high school in a small town, I was accepted at FAMU. So I was lucky enough to start studying here. I started to study at FAMU when I was sixteen, seventeen. I was born before the Second World War, in 1939, so I was very young when I started here. I was very lucky, because I collaborated with the directing class below me. It was a rule at FAMU that cinematographers of the upper classes had to work with directors of a lower class. -
Report on the Slovak Audiovisual Situation in 2010
REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2010 REPORT ON THE SLOVAK AUDIOVISUAL SITUATION IN 2010 § CONTENT I Introduction ............................................................................................. 3 I Legislation ............................................................................................... 4 I Film Education ......................................................................................... 5 I Film Production ........................................................................................ 7 I Slovak Audiovisual Fund ........................................................................... 8 I Literary Fund .......................................................................................... 11 I MEDIA ..................................................................................................... 11 I Eurimages ............................................................................................... 13 I Theatrical Distribution ............................................................................. 14 I Videodistribution ..................................................................................... 16 I Cinemas ................................................................................................... 20 I Film Clubs ............................................................................................... 21 I Festivals and Reviews .............................................................................. 23 I Awards of Slovak -
The First World War in the Czech and Slovak Cinema
University of New Orleans ScholarWorks@UNO Habsburg's Last War: The Filmic Memory (1918 to the Present) University of New Orleans Press 6-2018 The First World War in the Czech and Slovak Cinema Václav Šmidrkal Charles University, Prague Follow this and additional works at: https://scholarworks.uno.edu/hlw Part of the European History Commons, and the Film and Media Studies Commons Recommended Citation Šmidrkal, Václav. “The First World War in the Czech and Slovak Cinema.” In Habsburg’s Last War: The Filmic Memory (1918 to the Present), edited by Hannes Leidinger, 69-92. New Orleans: University of New Orleans Press, 2018. This Chapter is brought to you for free and open access by the University of New Orleans Press at ScholarWorks@UNO. It has been accepted for inclusion in Habsburg's Last War: The Filmic Memory (1918 to the Present) by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. THE FIRST WORLD WAR IN THE CZECH AND SLOVAK CINEMA1 Václav Šmidrkal Introduction In a speech broadcast from the Vítkov National Memorial in Prague on October 28, 2014, the ninety-sixth anniversary of Czechoslovakia’s declaration of independence, Colonel Jaroslav Vodička, Chairman of the Czech Union of Freedom Fighters (Český svaz bojovníků za svobodu), urged the Czech government to fund a new feature film about the Czechoslovak Legionnaires. He said, “we lack a film in our cinema that would show the audience the heroic campaign of the Legionnaires and their fundamental influence on the recognition of Czechoslovakia. It is one of the brightest points in our modern history, deserving of a high-quality film adaptation. -
Festival of New Czechoslovak Cinema, Presented by the Film Departments Of
30.^ he Museum of Modern Art West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart No. 65 FOR RELEASE: VJednesday, June 28, 19^7 The Festival of New Czechoslovak Cinema, presented by the Film Departments of Lincoln Center and The Museum of Modern Art as part of Lincoln Center Festival •67> is in its final day today at the Museum. Due to the unprecedented public demand, the films will be repeated as part of the Museum's regular daytime screening from June 29 through July 11 by special arrangement with Lincoln Center and Czechoslovak Filmexport. Willard Van Dyke, Director of the Museum's Department of Film, and Amos Vogel, Director, Lincoln Center Film Department, selected the twelve films which reflect the variety and innovations of the young filmmakers of Czechoslovakia, running the gamut from neo-realist, cinema-verlte to Kafkaesque and highly avant-garde works. Each feature-length film is accompanied by one or two Czech shorts. The showingswill be interrupted on July 5, when The Cabinet of Doctor Caligari will be screened at 2:00 and 5:30 p.m. as part of the continuing Wednesday program of films from the Museum's Archives. Concurrent with the film showings, an exhibition of 85 stills from the Czech films, including I6 in color, is on view in the Museum's Auditorium Gallery through July 16. The exhibition, selected by Willard Van Dyke, was installed by Kathleen Haven, the Museum's Graphics Coordinator. (See annotated listings for complete film schedule.) Stills and additional information available from Elizabeth Shaw, Director, and Patricia B. -
Historical and National Background of Slovak Filmmaking
An article from: Martin Votruba, ed. KinoKultura, Special Issue 3: Slovak Cinema, December 2005. ISSN 478-6567 Slovak Studies Program, University of Pittsburgh votruba “at” pitt “dot” edu http://www.pitt.edu/~votruba Historical and National Background of Slovak Filmmaking Martin Votruba While the United States is usually seen as a new country and the European countries as ancient ones, the emergence and demise of countries and border shifts have been much more widespread, dramatic, and consequential in Central Europe, as well as in the rest of the continent, in the past century than anything in American experience during the same period. In extreme instances, by the time a person was eighty, he or she could have been a citizen of up to eight countries without ever leaving his or her hometown. Slovakia in Europe, Real and Symbolic Geography A major concept and understanding that has been absent in almost all writing about Central Europe in English is the term “Central Europe” itself. It is sometimes taken to be an old German invention designed to justify the expansionist concept of Lebensraum, or it is discussed as an invention of Czech émigré author Milan Kundera, especially in his essay “The Tragedy of Central Europe.”1 Yet, a character in the German film The Edukators (Die Fetten Jahre sind vorbei; dir. Heinz Weingartner, 2004) says at one point, quite matter-of-factly, “here in Central Europe.” It is revealing that the English subtitles translated it merely as “here in Europe” for American audiences. Stripped of any Kundera-esque connotations, Central Europe has long been a simple geographic concept, like the Midwest in the United States.