29 Th of the Countries of Central and Eastern Europe, Was Finally Brought Down

Total Page:16

File Type:pdf, Size:1020Kb

29 Th of the Countries of Central and Eastern Europe, Was Finally Brought Down th n the fall of 1989, something happened that many never thought could happen: the IIron Curtain, the sphere of influence and control the Soviet Union maintained over many –29 of the countries of Central and Eastern Europe, was finally brought down. Nowhere was that process of liberation more dramatic than in rd Czechoslovakia. Responding to a brutal po- lice suppression of a peaceful protest march, millions of Czechs and Slovaks took to their 23 streets, the final proof (if any were still needed) that the “people’s government” represented The Kind Revolution little more than those who ran it. Within months, Václav Havel, a dissident ` playwright who had become the best-known symbol of resistance to the Soviet-backed re- gime, was elected president of a new, multi-par- ty democracy. Czechoslovakia, which would soon split into separate Czech and Slovak enti- ties, was once again free to carve out its own October path, make its own mistakes, and establish the role of a small nation in the middle of Europe and a rapidly globalizing world. To celebrate the 20th anniversary of the Citizen Havel Velvet Revolution—so-called because of the ˇ impressive lack of violence that accompanied Citizen Havel / Obcanˇ Havel the toppling of the Communist government—this PaveL KouTeck‘Y anD MiroSLav JaneK, series presents some of the finest Czech films CzeCh rePuBLiC, 2008; 120M Chronicling the private and public life of dissi- made since 1989, including several internation- Designed by Frantisek Kast/SSS and Laura Blum. Pink Tank by David Cerny by Blum. Pink Tank and Laura Kast/SSS Frantisek Designed by dent playwright-turned-president václav havel, al prizewinners and box-office successes. This this Prague Castle confidential goes behind the brief panorama provides powerful evidence of tumultuous scenes of Czech politics from 1992 to the ingenuity and irreverence of today’s Czech 2003. Memorable moments include havel primp- ing for a 2002 NATo summit, Bill Clinton playing cinema, in which hilarity, horror, and humanity “Summertime” in a Prague jazz club, and havel converge all at once to brand a distinctly Bohe- fumbling for keys to show the rolling Stones the mian take on irony. Castle balcony. Winner of the Czech Lion for Best In addition to these contemporary films, a Documentary, the Film is a memorable tribute to sidebar of key Czech classics honors the coun- Koutecky,´ a long-time friend of havel’s who died in a freak accident before filming wrapped. Czech try’s rich filmmaking tradition. Included in this Consul General eliskaˇ zˇigová will introduce the film. pre-’89 collection is a rare screening of Fri Oct 23: 6:30pm Voyage to the End of the Universe, a work long rumored to have been an inspiration for the Divided We Fall / Musíme si pomáhat ˇ creation of . Many of the screenings Jan hreBeJK, CzeCh rePuBLiC, 2000; 122M Star Trek “in completely mad times, just holding onto your will be complemented by discussions with film- sanity can be an exceptional feat, and this excel- Co-curated by The Film Society of Lincoln Center and Laura Blum, in collaboration with the Czech Film Center. Special thanks to Koh-I-Noor and makers, actors, and other distinguished guests. lent film shows how it’s done.” –Los angeles Times Czech Center New York for their support of the series. Additional thanks to the Consulate General of the Czech Republic in New York; Bohemian Citizens' Benevolent Society; Jeff Hush; Michael Wolkowitz; the William Petschek Family; Jacob and Ruth Blum; and National Film Archive in Prague. 2727 Voyage to the End of the Universe humor is rarely blacker than in this boudoir drama The Ferrari Dino Girl / Holka Ferrari Dino set in nazi-occupied Czechoslovakia, where Jan neMˇ eC, CzeCh rePuBLiC, 2009; 68M a couple reluctantly hides a Jewish escapee Where were you when Warsaw Pact troops and a local nazi collaborator with his romantic took Prague on aug. 21, 1968? Seminal new sights on the wife drops by whenever he gets the Wave director Jan nˇemec was out capturing the urge. Based on a true story, this gripping elegy invasion on camera, from tanks rolling through to unwanted heroism offers no apologies for the the streets to civilians battling Soviet soldiers. strategies its characters use to survive. Divided We incorporating that full, unedited footage, nˇemec’s Fall swept the Czech Lions and was nominated for autobiographical thriller recounts his risky dash the Best Foreign Language Film oscar in 2001. across the border—with an elusive young beauty— Sun Oct 25: 2:20pm to broadcast the tragedy worldwide from austrian Wed Oct 28: 6:15pm television. Pavel Jech, dean of famed Czech film school FaMu, will introduce the film. Empties / Vratné lahve Jan SveˇráK, CzeCh rePuBLiC/uK, 2007; 100M SCreeninG WiTh after striking cinematic pay dirt with the oscar- The Kind Revolution / Neznᡡ revoluce winning Kolya in 1996, father-and-son team Jíˇrí ˇSTreCha anD PeTr SLavíK, zdenekˇ and Jan Sverákˇ returned with the comic CzeCh rePuBLiC, 1990; 37M tale of a natural curmudgeon who ditches his on nov. 17, 1989, riot police crushed a peaceful teaching career to land a job in a pivotal position student protest in Prague. The mass demonstrations in the Czech economy: the bottle return depart- that followed signaled the beginning of the end of ment of the local supermarket. Jan Sverák’sˇ bit- Czech Communism. a powerful manifesto of the tersweet tone never fully redeems his lead, while ideals and non-violent philosophy that would define The Karamazovs nevertheless letting us into his worldview. The the new, democratic state, The Kind Revolution--the approach worked with domestic audiences, who first film to document the events of the Gentle or made Empties the biggest box-office success in velvet revolution--presents images captured over Czech history. Producer eric abraham will intro- ten days by a single unit from Krátkyý‘ Film. Martin duce the oct 24 screening. Palousˇý, Czech ambassador to the u.n, is sched- Sat Oct 24: 6:00pm uled to introduce and discuss the film. Wed Oct 28: 2:15pm Fri Oct 23: 2:00pm Sun Oct 25: 7:00pm Something Like Happiness The Karamazovs / Karamazovi PeTr zeLenKa, CzeCh rePubliC/ PoLanD, 2008; 100M Director Petr Zelenka in person a Czech theater troupe stages The Brothers Karamazov at a Polish steelworks, but the drama on stage is more than matched by the off-stage shenanigans of the cast and their hosts. Dissecting Dostoevsky’s favorite themes of faith, doubt, and moral responsibility, ever-irreverent director Petr zelenka situates the velvet revolution in the larger context of eastern Bloc change wrought by the collapse of Communism. Life and death imi- tate art—or is it vice versa? Mr. zelenka will discuss the film. Thu Oct 29: 6:15pm 2929 The Return of the Idiot /Návrat idiota Some Secrets / Vylet‘ SaSaˇ GeDeon, CzeCh rePuBLiC/ aLiCe neLLiS, CzeCh rePuBLiC/ GerManY, 1999; 100M SLovaKia, 2002; 93M Actor Anaˇ Geislerová in person Personal and political histories intertwine during a “one of the most original and inventive pics out of family road trip to scatter a patriarch’s ashes over Central europe in some time.”- variety the Czech-Slovak border. But with two wayward This loose adaptation of Dostoevsky’s The Idiot daughters, a mother who stretches the truth, and follows a wise fool who leaves an asylum and two generations of men orbiting the far side of enters the lives of four romantically linked friends. comprehension, the family has more than one What he lacks in ego and guile he more than frontier to cross. inspired by William Faulkner’s makes up for in insight and goodness, but that’s As I Lay Dying, nellis’s prize-winning drama simply not enough to save the unhappy people fearlessly confronts its political implications while around him. a contemporary, serio-comic, yet sen- allowing us to form our own opinions about the sitive dissection of the human heart in the sticky characters. Singer/actor iva Bittová, who starred thrall of relationships, The Return of the Idiot won in another alice nellis film, will be on hand to five Czech Lions. ana Geislerová, one of the top introduce the film. stars of the new Czech cinema, will introduce and Sun Oct 25: 4:45pm discuss the film. Wed Oct 28: 4:15pm SCreeninG WiTh Something Like Happiness / Stestíˇ ˇ The Return of the Idiot Czech Peace / Ceskyýˇ ‘ mir BohDan SLáMa, CzeCh rePuBLiC FiLiP reMunDa anD viT KLuSáK, /GerManY, 2005; 102M CzeCh rePuBLiC, 2004; 19M Actor Anaˇ Geislerová in person Empties The merry pranksters behind Czech Dream pre- “a thoughtfully performed, gently quirky human sent a sneak preview of their newest documen- drama about choices made and their often surpris- tary, a pre-war comedy about recent u.S. plans ing consequences.” –The hollywood reporter to install a radar base on Czech soil. Three friends who came of age in the same hous- Sat Oct 24: 8:00pm ing project grapple with loneliness and unrequited Tue Oct 27: 4:00pm desires. Their strained companionship is made even more complicated Ferrari Dino Girl when a fragile young mother (anaˇ Geislerová) is institutionalized and forced to give up her children. Something Like Happiness is one of the most perceptive, and deeply affecting looks at the first post-communist generation. Winner of eight Czech Lions and screened at the 2005 new York Film Festival. Ms. Geislerová will intro- duce and discuss the film. Fri Oct 23: 9:10pm Thu Oct 29: 2:15pm 3131 SPECIAL EVENT Ecstasy / Extase Gustav MaChaT‘Y, CzeChoSLovaKia/austria, 1933; 87M 60’S SIDEBAR an unhappily married eva falls for a seductive young adam in this “adult” classic that made hedy Lamarr a succès de scandale prior to her hollywood debut.
Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • MILOŠ FORMAN Peter Hames the Most Obvious Antecedents of The
    standards of Loves of a Blonde, Olmi‟s work is much more obviously manipulative and might almost be described as self-indulgent. 4 Cinéma vérité is clearly a movement that influenced the Czechs. Besides the group, it left its mark on the early films of Schorm, Jireš, and Chytilová. In Jaroslav MILOŠ FORMAN Boček‟s view, the use of cinéma vérité techniques to come to grips with social reality Peter Hames provided an experience of authenticity that left deep traces on the members of the Czechoslovak “new wave.” It penetrated not The most obvious antecedents of the work of Forman, Passer, and Papoušek, who only into their experience as film makers but also into their minds. Contrary to the can be argued to have developed their own characteristic group style, were Italian members of the French “nouvelle vague,” they did not wrap themselves up in Neorealism and cinéma vérité. Their early films were concerned with the “recording” subjectivity and intimacy even later, but polarised the relation between the subjective or “exposing” of everyday reality rather than the expression of a personal vision. and the objective world, subdued the tension between the individual and society, Miloš Forman has said: “Many years ago people used to say „that‟s like in a film,‟ between man and history.2 meaning that it was incredible; later they said: „He filmed it marvellously,‟ meaning that someone hoodwinked the others, and now a third phrase is being used when It is not entirely clear what Boček means. It is certainly true that whatever the film-makers want spectators to believe what they see on the screen.” He clarified style adopted, nearly all the films of the Czechoslovak New Wave were concerned their program when he said that he was interested in “the life, problems, joys, and with both the individual and society.
    [Show full text]
  • CZECH CINEMA: NEW WAVE and BEYOND Coordinators: Robert
    CZECH CINEMA: NEW WAVE AND BEYOND Coordinators: Robert Gerace and Eva Vogel We survey films from the Czech cinema after WW II, beginning with the German and Soviet Occupations, continuing with the Czech New Wave and the Prague Spring of the 1960’s, and ending with more contemporary films of the modern era. Our materials on Czech and Slovak history and culture provide a framework and context for critical evaluation. We ask which policies and attitudes of the prevailing Soviet and German authorities are satirized in these films? How do the directors attempt to bypass strict censorship of this veiled government criticism? We come to understand the importance of the Czech film industry and how it reflected the historic struggles and aspirations of the citizens of Bohemia and Slovakia. Readings and other Required Materials: Subscription to Netflix is required. Class handouts and Web references will be provided. They include film reviews, director biographies and articles on Czech and Slovak history and culture. Robert has coordinated study groups on Greenwich Village Writers, Italian Neo Realism, and French New Wave Cinema. Eva is an enthusiast of Czech and Slovak films that reflect her family’s experience of the WWII German occupation and her own life during the Soviet occupations after 1968. * * * * * * * * Syllabus * * * * * * * * After viewing the films at home we consider assigned questions about theme, character development, cinematography and director’s style. We evaluate our answers as we view and discuss film clips of the highlights shown in class. Students are encouraged to submit their own questions for class discussion. Assigned background readings include: "Prague Spring: Russian tanks in the streets and a New Wave in the cinema," Peter Hames, The Manchester Guardian, 1999.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • The Czech Republic
    THE CZECH ...CZECH IT OUT! REPUBLIC IN YOUR OWN BACKYARD NÁVRAT DIVOKÝCH KONÍ / THE CZECH RETURN OF THE WILD HORSES JAN HOŠEK 2011, 28MIN ROK ĎÁBLA / YEAR OF THE DEVIL The Central Asian Przewalski’s Horse is the very last PETR ZELENKA surviving wild horse species. The world learned of its 2002, 90MIN existence only in 1881 – but less than a hundred years REPUBLIC later it had already been driven to extinction in the Year of the Devil is a 2002 Czech “Mockumentary” wild, surviving only in the care of zoological gardens. film directed by Petr Zelenka. It stars musicians who act as themselves: Czech folk music band Čechomor, Extraordinary credit for the preservation of the IN YOUR OWN BACKYARD musicians & poets Jaromír Nohavica, Karel Plihal & Przewalski’s horse goes to Prague Zoo, which in British/NZ musician & composer Jaz Coleman. 1959 was charged with managing the international studbook for the species & which has bred over two It was awarded the Crystal Globe at the Karlovy Vary hundred foals. Under the leadership of the late Prof. International Film Festival & won the Findling Award Veselovský, a former director of Prague Zoo, the & the FIPRESCI Prize at the Cottbus Film Festival of Czech Republic became one of the leading organizers Showing at Dorothy Browns Cinema Buckingham St Arrowntown. Young East European Cinema in 2002. In 2003 it won of international transports of Przewalski’s horses back 6 Czech Lions, including Best Film, Best Director, Best For more information www.czechffqueenstown.nz. to their original homeland. Editing, & was nominated for 5 more, including Best Screenplay & Best Cinematography.
    [Show full text]
  • Organizer of the 54Th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, A.S
    Organizer of the 54th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, a.s. Organizers of the 54th Karlovy Vary IFF thank to all partners which help to organize the festival. 54th Karlovy Vary IFF is supported by: Ministry of Culture Czech Republic Main partners: Vodafone Czech Republic a.s. innogy MALL.cz Accolade City of Karlovy Vary Karlovy Vary Region Partners: UniCredit Bank Czech Republic and Slovakia, a.s. UNIPETROL SAZKA Group the Europe’s largest lottery company DHL Express (Czech Republic), s.r.o. Philip Morris ČR, a.s. CZECH FUND – Czech investment funds Official car: BMW Official fashion partner: Pietro Filipi Official coffee: Nespresso Supported by: CZ - Česká zbrojovka a.s. Supported by: construction group EUROVIA CS Supported by: CZECHOSLOVAK GROUP Partner of the People Next Door section: Sirius Foundation Official non-profit partner: Patron dětí Film Servis Festival Karlovy Vary, Panská 1, 110 00 Praha 1, Czech Republic Tel. +420 221 411 011, 221 411 022 www.kviff.com Official beverage: Karlovarská Korunní Official beauty partner: Dermacol Official champagne: Moët & Chandon Official beer: Pilsner Urquell Official drink: Becherovka Main media partners: Czech Television Czech Radio Radiožurnál PRÁVO Novinky.cz REFLEX Media partners: BigBoard Praha PLC ELLE Magazine magazine TV Star Festival awards supplier: Moser Glassworks Software solutions: Microsoft Consumer electronics supplier: LG Electronics Partner of the festival Instagram: PROFIMED Main hotel partners: SPA HOTEL THERMAL Grandhotel Pupp Four Seasons Hotel Prague Partner of the No Barriers Project: innogy Energie Wine supplier: Víno Marcinčák Mikulov - organic winery GPS technology supplier: ECS Invention spol. s r.o.
    [Show full text]
  • Ten Propositions About Munich 1938 on the Fateful Event of Czech and European History – Without Legends and National Stereotypes
    Ten Propositions about Munich 1938 On the Fateful Event of Czech and European History – without Legends and National Stereotypes Vít Smetana The Munich conference of 29–30 September 1938, followed by forced cession of border regions of Czechoslovakia to Nazi Germany and subsequently also to Poland and Hungary, is unquestionably one of the crucial milestones of Czech and Czecho- slovak history of the 20th century, but also an important moment in the history of global diplomacy, with long-term overlaps and echoes into international politics. In the Czech environment, round anniversaries of the dramatic events of 1938 repeatedly prompt emotional debates as to whether the nation should have put up armed resistance in the autumn of 1938. Such debates tend to be connected with strength comparisons of the Czechoslovak and German armies of the time, but also with considerations whether the “bent backbone of the nation” with all its impacts on the mental map of Europe and the Czech role in it was an acceptable price for saving an indeterminate number of human lives and preserving material assets and cultural and historical monuments and buildings all around the country. Last year’s 80th anniversary of the Munich Agreement was no exception. A change for the better was the attention that the media paid to the situation of post-Munich refugees from the border regions as well as to the fact that the Czechs rejected, immediately after Munich, humanist democracy and started building an authori- tarian state instead.1 The aim of this text is to deconstruct the most widespread 1 See, for example: ZÍDEK, Petr: Po Mnichovu začali Češi budovat diktaturu [The Czechs started building a dictatorship after Munich].
    [Show full text]
  • „Making Of“ Documentaries of Czech Distribution Films Made Between 2005 and 2009
    Univerzita Palackého v Olomouci Filozofická fakulta Katedra divadelních, filmových a mediálních studií ROZBOR MINIDOKUMENTŮ FILMY O FILMU ČESKÝCH DISTRIBUČNÍCH FILMŮ Z LET 2005-2009 Analysis of short „Making of“ documentaries of Czech distribution films made between 2005 and 2009 (Bakalářská diplomová práce) JAN JENDŘEJEK (Teorie a dějiny dramatických umění, bakalářské studium) Vedoucí práce: Mgr. Luboš Ptáček, Ph.D. Olomouc 2011 Děkuji Mgr. Luboši Ptáčkovi, Ph. D. za jeho cenné rady při psaní této práce a především za trpělivé vedení. Lucii Klevarové děkuji za důležitou podporu, Romaně Veselé za lekci v editorství a Veronice Zýkové. Prohlašuji tímto, že jsem vypracoval bakalářskou práci samostatně a uvedl jsem všechny použité zdroje. V Olomouci, dne ………………………………………….. 2 OBSAH 1. ÚVOD................................................................................................................ 4 1.1. Základní kritéria......................................................................................... 6 2. ČESKÉ FILMY Z LET 2005-2009................................................................. 7 2.1. Základní údaje............................................................................................ 7 2.2. Rozpis filmů............................................................................................... 8 2.3. Cesty k filmu o filmu ................................................................................. 8 2.4. Tabulky ...................................................................................................
    [Show full text]
  • Czech Surrealism and Czech New Wave Realism
    Czech Surrealism and Czech New Wave Realism By Alison Frank Fall 2011 Issue of KINEMA CZECH SURREALISM AND CZECH NEW WAVE REALISM: THE IMPORTANCE OF OBJECTS Abstract This article examines a major difference between French and Czech Surrealism as exemplified by their attitudes to film. It engages in a close analysis of three films by documentary-influenced Czech New Wavedirectors whom the Prague Surrealist group admired: Miloš Forman, Ivan Passer and Jan Němec. The analysis focuses on the way in which objects in these films can take on multiple meanings depending on their context. It concludes that such objects suggest a broadening of possibilities in everyday life and in this respect correspond to both Surrealist goals and to the experience of living in a society in the process of political liberalization. The Paris Surrealist group’s favourite Czech New Wave film was Věra Chytilová’s highly experimental Sed- mikrásky (Daisies, 1966); the Prague group, by contrast, preferred the documentary-style approach of Miloš Forman and Ivan Passer (Král 2002: 9). The Prague Surrealists also extended their praise to the somewhat less realistic films of Jan Němec, but only insofar as their’onirisme inclut […] un sens des réalités crus/their oneirism included […] a sense of raw reality’ (Král 2002: 9). This difference of opinion between the Paris and Prague Surrealist groups points to a more profound divergence in their cultural and historical origins. In this article I will begin by exploring this divergence and go on to explain how it influenced the Prague group’s attitude to cinema. I will then examine one film by each of the three directors that the Prague group singled out for praise: Miloš Forman’s Lásky jedné plavovlásky (Loves of a Blonde, 1965), Ivan Passer’s Intimní osvětlení (Intimate Lighting, 1965) and Jan Němec’s O slavnosti a hostech (The Party and the Guests, 1966).
    [Show full text]
  • Cultural Response to Totalitarianism in Select Movies Produced in Czechoslovakia, Hungary and Poland Between 1956 and 1989 Kazimierz Robak University of South Florida
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2009 Cultural response to totalitarianism in select movies produced in Czechoslovakia, Hungary and Poland between 1956 and 1989 Kazimierz Robak University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Robak, Kazimierz, "Cultural response to totalitarianism in select movies produced in Czechoslovakia, Hungary and Poland between 1956 and 1989" (2009). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/2167 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Cultural Response to Totalitarianism in Select Movies Produced in Czechoslovakia, Hungary and Poland between 1956 and 1989 by Kazimierz Robak A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Maria Cizmic, Ph.D. Silvio Gaggi, Ph.D. Adriana Novoa, Ph.D. Date of Approval: April 6, 2009 Keywords: bolshevism, communism, communist propaganda, sovietism, film, peter bacso, milos forman, jan nemec, istvan szabo, bela tarrr, andrzej wajda, janusz zaorski © Copyright 2009, Kazimierz Robak Dedication To my wife Grażyna Walczak, my best friend, companion and love and to Olga, a wonderful daughter Acknowledgements First and foremost I would like to thank my supervisor Professor Maria Cizmic, who has been an extraordinary advisor in the best tradition of this institution.
    [Show full text]
  • CZECH (With Slovak) 2020/2021
    UNIVERSITY OF OXFORD FACULTY OF MEDIEVAL AND MODERN LANGUAGES Information for the Preliminary Course in CZECH (with Slovak) 2020/2021 This handbook gives subject-specific information for your Preliminary course in Czech (with Slovak). For general information about your studies and the faculty, please consult the Faculty’s Undergraduate Course Handbook (https://weblearn.ox.ac.uk/portal/site/:humdiv:modlang). THE PRELIMINARY COURSE Czech teaching normally takes place at the Faculty in 47 Wellington Square. Czech language and literature are taught by: Dr Rajendra Chitnis (Associate Professor of Czech, Ivana and Pavel Tykač Fellow, University College) Office: F3, 47 Wellington Square (Staircase 1, First Floor) E-Mail: [email protected] Phone (term-time only): 01865 286881 Dr Vanda Pickett (Czech Language Tutor) E-Mail: [email protected] Czech language at Oxford is taught as a Beginner’s language, i.e. no previous knowledge of Czech is required. First Year students will receive three hours of intensive Czech language classes per week. Native speakers, speakers with Czech or Slovak background, or otherwise more advanced students of the language will be given more demanding language work, tailored to their needs and abilities. Throughout the year, First Year students also attend weekly seminars and tutorials on Czech literary texts and a lecture series on Czech history and culture. You will be asked to attend a meeting towards the end of 0th week in Michaelmas Term to finalize the timetable. ☛ Extensive local and external web resources for students of Czech and Slovak language and literature are available at: http://czech.mml.ox.ac.uk Further details about the papers to be taken in the Preliminary Examination and set texts for literature are given below, together with an introductory reading list, recommended dictionaries, textbooks and some other background reading.
    [Show full text]