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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. -
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. -
Ward, Kenneth (2017) Taking the New Wave out of Isolation: Humour and Tragedy of the Czechoslovak New Wave and Post-Communist Czech Cinema
Ward, Kenneth (2017) Taking the new wave out of isolation: humour and tragedy of the Czechoslovak new wave and post-communist Czech cinema. MPhil(R) thesis. http://theses.gla.ac.uk/8441/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] TAKING THE NEW WAVE OUT OF ISOLATION: HUMOUR AND TRAGEDY OF THE CZECHOSLOVAK NEW WAVE AND POST-COMMUNIST CZECH CINEMA KENNETH WARD CONTENTS Introduction 2-40 Theoretical Approach 2 Crossing Over: Art Films That Could Reach the Whole World 7 Subversive Strand 10 Tromp L’oeil and the Darkly Comic 13 Attacking Aesthetics: Disruption Over Destruction 24 Normalization and Czech Cunning 28 History Repeats Itself: An Interminable Terminus 32 Doubling as Oppressor 36 Chapter One: Undercurrents and the Czechoslovak New Wave 41-64 Compliance and Defiance 41 A Passion for Diversion 45 People Make the System 52 Rebels Without a Cause 56 Summary 64 Chapter Two: A Very Willing Puppet 65-91 On the Cusp of a Wave 65 A Madman’s Logic 67 Mask of Objectivity -
Report on the Slovak Audiovisual Situation in 2014
REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2014 REPORT ON THE SLOVAK AUDIOVISUAL SITUATION IN 2014 § CONTENT I Introduction ........................................................................................... 03 I Legislation ............................................................................................. 04 I Film Education ....................................................................................... 05 I Film Production ...................................................................................... 08 I Slovak Audiovisual Fund ......................................................................... 12 I Literary Fund .......................................................................................... 19 I MEDIA ..................................................................................................... 19 I Eurimages ............................................................................................... 21 I Cinema Distribution ................................................................................. 22 I Videodistribution ..................................................................................... 26 I Cinemas ................................................................................................... 30 I Film Clubs ............................................................................................... 32 I Festivals and Reviews .............................................................................. 34 I Awards of Slovak Films -
Lines of Light: Central European Cinema
CERGE-EI and the Faculty of Humanities (FHS) at Charles University Lines of Light: Central European Cinema Professor: Erik S. Roraback (D.Phil., University of Oxford, 1997; B.A., Pomona College, 1989) e-mail: [email protected] website: www.erikroraback.com OUTLINE OF THE COURSE: Throughout Central Europe leading edge filmmaking erupted in the 1920s. This course studies a select band of Central European filmmakers (along with a special bonus, the Soviet bloc film- artist Andrei Tarkovksky) and their collective attempt to deal with and to follow their search for a medium to describe the full complexity of individual and collective political life and historical experience. In this way the truth peeks through some of the aesthetic units of the cinematic image in our chosen films as so many lines of light. Particular attention will be paid to the Czech New Wave movement of the late 1960s. Screenings include pictures or clips from ten important film-directors or directoresses: Věra Chytilová (Czech Republic, 1929-present), Rainer Werner Fassbinder (Germany, 1946-82), Miloš Forman (Czech Republic, 1932-present), Juraj Herz (Slovakia, 1934-present), Jan Hřebejk (Czech Republic, 1967-present), Fritz Lang (Germany, 1890-1976), Jiří Menzel (Czech Republic, 1938-present), F. W. Murnau, (Germany, 1888-1931), Jan Němec (Czech Republic, 1936-present), and Andrei Tarkovsky (1932-86). Special emphasis will also be given to the relation of these director’s strategies of presentation to questions of aesthetics (of beauty), of epistemology (of knowledge and of the production of truth), of ethics, of microlevel and macrolevel political implications, of ontology (of subjectivity and of individual selfhood or identity) and of spectatorship. -
Czech with Slovak: Reading List for 2020-21 Offer-Holders
Czech with Slovak: Reading List for 2020-21 Offer-Holders Here is a list of recommended reading to help you prepare for your First Year of Czech with Slovak at Oxford. If you have any questions, please don’t hesitate to contact Dr Rajendra Chitnis, [email protected] LANGUAGE TEXTBOOKS & DICTIONARIES We do not assume any previous knowledge or study of Czech. However, you may find it useful to begin to familiarise yourself with the additional letters in the Czech alphabet and the sounds they represent, to listen to the language and practise its various unusual sounds, and to begin to get a sense of how it works as a language. The primary language textbook we use throughout the degree in Czech (with Slovak) is: James Naughton, Colloquial Czech (Routledge, 2010). Please ensure that you obtain the MOST RECENT (3rd) edition. For reference purposes throughout your studies in Czech, we also recommend you acquire: James Naughton, Czech: An Essential Grammar (Routledge, 2005) You may be able to obtain these and other recommended books second-hand, via websites like www.abebooks.co.uk or the Used section at www.amazon.co.uk Dictionaries Free on-line dictionaries and translation tools are useful in emergencies, but for students of Czech are not adequate replacements for the dictionaries listed below. The best single-volume English-Czech/Czech-English dictionary currently available is: Josef Fronek, Anglicko-český a česko-anglický slovník (Prague: Leda, 2012). The best readily available large English-Czech and Czech-English pair of volumes are currently: Josef Fronek, Velký česko-anglický slovník (Praha: Leda, 2013). -
Fall 2018 the Czech Film Fund Is the Main Public Financing Body for Cinema in the Czech Republic
Fall 2018 The Czech Film Fund is the main public financing body for cinema in the Czech Republic. The Fund supports all stages of film production, as well as promotion, distribution and other film-related areas. It also administers production incentives for audio-visual projects made in the Czech Republic. Apart from financing, the fund also includes two divisions for international activities: the Czech Film Center and the Czech Film Commission. The Czech Film Center promotes and markets Czech films and the local film industry worldwide. It collaborates with major international film festivals and co-production platforms and utilizes a global network of partners, seeking opportunities for creative exchange between Czech filmmakers and their international counterparts. The Czech Film Commission promotes the country with its film infrastructure as one of the world's top destinations for audio-visual production. As a comprehensive resource for filming in the Czech Republic, the commission provides incoming filmmakers with consultation, guidance, and contacts. Markéta Šantrochová Barbora Ligasová Vítězslav Chovanec Jana Krivenkaja Head of Czech Film Center Festival Relations-Feature Films Festival Relations- Project Manager e-mail: [email protected] e-mail: [email protected] Documentary & Short Films e-mail: [email protected] tel.:+420 724 329 948 tel.: +420 778 487 863 e-mail: [email protected] tel.: +420 724 329 949 tel.: +420 778 487 864 agical 25. No, I don’t mean the age, and certainly not my own. What I mean is the percentage increase in rebates for foreign filmmakers: the most heavily discussed topic in debates about the future and competitiveness of the Czech film industry internationally. -
JURAJ HERZ Peter Hames the Work of Juraj Herz Has Never Attracted
films, Oil Lamps (Petrolejové lampy, 1971) and Morgiana (1972), were adapted from novels by Jaroslav Havlíček and Alexander Grin, respectively. He obviously chose the 10 well-known Eastern European expedient of the time machine, making films set in the past and based on established literary works. However, he maintained an individual JURAJ HERZ approach and chose subjects that provided a scarcely optimistic view of human Peter Hames nature. All three films became the subject of contention and conflicting attitudes despite winning international awards. His collaboration with Jaroslav Kučera on The work of Juraj Herz has never attracted the attention it deserves. Despite Morgiana has been described as the last film of the New Wave. Had it not been for the his involvement with Pearls of the Deep, he remained on the periphery of the main Soviet director Sergei Gerasimov's timely observation that it was the best fillm yet developments. This was why Liehm excluded him from his almost encyclopedic made of Grin's work, it would certainly have run into major trouble. Both Oil Lamps series of interviews and is to some extent borne out by Herz's own views: and Morgiana provided scope for a continuation of some of the "grotesque‖ and ―decadent" preoccupations of The Cremator. I cannot say that I have the sense of belonging to the Wave. I rather feel that I am at one 1 Herz worked for a year with the novelist Ladislav Fuks on the screen with certain individuals—with Jireš, or Schorm, but not with the Wave. adaptation of his novel The Cremator. -
The Cremator (Spalovač Mrtvol)
The Cremator (Spalovač mrtvol) Author: Ladislav Fuks First Published: 1967 Translations: Hungarian (A hullaégetö, 1971); Italian (Il bruciacadaveri, 1972); Polish (Palcz zwłok, 1979); English (The Cremator, 1984); Swedish (Brännaren, 1986); German (Der Leichenverbrenner, 1987); Croatian (Spaljivač leševa, 1987); French (L’incinérateur de cadavres, 2004); Lithuanian (Lavonų degintojas, 2007); Slovenian (Sežigalec trupel, 2008); Japanese (Kasōnin, 2012); Bulgarian (Krematorăt, 2015); Hebrew (Soref ha-gu- fot, 2015). Theatre Adaptations: Disk, Prague (2008); Národní divadlo, Prague (2016); Divadlo Petra Bezruče, Ostrava (2016). Film Adaptation: Spalovač mrtvol (The Cremator), feature film, screenplay Ladislav Fuks and Juraj Herz; film director Juraj Herz, premiered 14th of March, 1969. About the Author: Ladislav Fuks (1923–1994) was born in Prague as the son of a high ranking police officer. In high school, he witnessed the Nazi persecution of his Jewish friends. In 1942 he was forced to work on a farm in Moravia. After World War II, he stu- died philosophy, psychology and art history at Charles University in Prague. He be- came a professional writer in the 1960s, after his successful debut of → Mr Theodore Mundstock. Jewish figures and the Holocaust play an important role in his works from the 1960s. Further Important Publications: Pan Theodor Mundstock (1963, → Mr Theodore Mund- stock; novel); Variace pro temnou strunu (1966; Variations on a Dark Chord; novel); Smrt morčete (1969, Death of the Guinea Pig; short stories). Content, Main Topics and Interpretation The plot of the novel takes place in Prague at the end of the 1930s with a short coda set in May 1945. The main character, Karel Kopfrkingl, is an employee at a cremator- ium. -
CZECH FILM Summer 2018.Pdf
Summer 2018 The Czech Film Fund is the main public financing body for cinema in the Czech Republic. The Fund supports all stages of film production, as well as promotion, distribution and other film-related areas. It also administers production incentives for audio-visual projects made in the Czech Republic. Apart from financing, the fund also includes two divisions for international activities: the Czech Film Center and the Czech Film Commission. The Czech Film Center promotes and markets Czech films and the local film industry worldwide. It collaborates with major international film festivals and co-production platforms and utilizes a global network of partners, seeking opportunities for creative exchange between Czech filmmakers and their international counterparts. The Czech Film Commission promotes the country with its film infrastructure as one of the world's top destinations for audio-visual production. As a comprehensive resource for filming in the Czech Republic, the commission provides incoming filmmakers with consultation, guidance, and contacts. Markéta Šantrochová Barbora Ligasová Vítězslav Chovanec Head of Czech Film Center Festival Relations-Feature Films Festival Relations- e-mail: [email protected] e-mail: [email protected] Documentary & Short Films tel.:+420 724 329 948 tel.: +420 778 487 863 e-mail: [email protected] tel.: +420 778 487 864 Jana Krivenkaja Helena Sedmidubská Project Manager Editor & External Communication e-mail: [email protected] e-mail: [email protected] tel.: +420 724 329 949 tel.: -
Aesthetics Or Ethics? Italian Neorealism and the Czechoslovak New Wave Cinema Lubica Učník
63 Aesthetics or Ethics? Italian Neorealism and the Czechoslovak New Wave Cinema Lubica Učník A man who has no conscience, who doesn’t die, who cannot laugh, who is unaware of personal responsibility—such a man is of course the perfect unit needed in a manipulated, bureaucratically regimented system. In contrast, Man as portrayed by Czech culture of the last decade is a potential revolutionary, because he finds life in such a manipulated system unbearable. (Kosík, 1973, 399) According to Mira Liehm, neorealist films were often described in terms of film consciousness and despite differences between filmmakers, “all these artists, one so unlike the other, brought to life a phenomenon with clearly defined technical and moral components that influenced almost all subsequent film trends in the West and in the East” (1984, 5 & 129).1 Describing the work of Roberto Rossellini, Liehm explains that neorealists were not concerned with true pictures of facts or slices of life. According to her, this is misunderstanding of the technique. What they were interested in was an impact on the viewer of a life as represented in film; neorealism was “a moral weapon aimed at the artistic conventions of the past” (71). Reality is not an independent, autonomous phenomenon that exists outside of representation. It is always a construction of the filmic text. Some argue that the style of neorealism can be traced to the Soviet montage cinema.2 Yet neorealists did not aim to represent life as the peoples’ struggle against the bourgeoisie, as Soviet filmmakers did, but as the individual’s struggle against an overwhelming reality.