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.
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