List of Audiovisual Production Profiles on FNE Website in 2016
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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. -
Contemporary Ukrainian Cinema Into the European Context (2014-2019)
How to Cite: Alforova, Z., Marchenko, S., Shevchuk, Y., Kotlyar, S., & Honcharuk, S. (2021). Contemporary Ukrainian cinema into the European context (2014-2019). Linguistics and Culture Review, 5(S2), 274-283. https://doi.org/10.37028/lingcure.v5nS2.1345 Contemporary Ukrainian Cinema into the European Context (2014-2019) Zoya Alforova Kharkiv State Academy of Culture, Kharkiv, Ukraine Serhii Marchenko Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine Yuliia Shevchuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Svitlana Kotlyar Kyiv National University of Culture and Arts, Kyiv, Ukraine Serhii Honcharuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Abstract---The relevance of the study is conditioned by the fact that the development of Ukrainian art, including cinema, is becoming more popular every year. Since 2014, the Ukrainian film industry has been rapidly developing, and has also shown good results at European and other international film festivals. The purpose of the study is to analyses the position of Ukrainian cinema in the recent historical period, as well as to analyses the preconditions that were created for its development and introduction to the European cinema market. The methodological basis of this study is the combination of theoretical methods of cognition. Methods of data analysis and synthesis, dialectical method, historical and periodization method are used. In the course of writing this paper, the studies of Ukrainian and foreign researchers regarding the subject were studied and analyzed. The establishment and current state of the film industry are investigated. The preconditions for the development of Ukrainian cinema as well as factors that influenced its entrance to the European market are considered. -
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. -
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]. -
„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 ................................................................................................... -
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 -
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. -
FINAL PRESS RELEASE July 8Th 2017
FINAL PRESS RELEASE July 8th 2017 The 52nd Karlovy Vary International Film Festival, a non-specialized festival with three competitive categories, took place from June 30 th to July 8th this year. It was organized by Film Servis Festival Karlovy Vary, a.s., with Ji ří Bartoška as president of the festival and Karel Och as an artistic director. The 53rd Karlovy Vary IFF will be held from June 29 th to 7th July 2018. On July 8th 2017, the festival’s juries presented awards for the best films at the closing ceremony of the 52nd Karlovy Vary IFF. OFFICIAL SELECTION – COMPETITION GRAND JURY Anna Brüggemann, Germany Sarah Flack, USA Ciro Guerra, Columbia Michel Merkt, Principality of Monaco Štefan Uhrík, Czech Republic GRAND PRIX – CRYSTAL GLOBE (25 000 USD) The financial award is shared equally by the director and producer of the award-winning film. Little Crusader / Křižá ček Directed by: Václav Kadrnka Czech Republic, Slovak Republic, Italy, 2017 SPECIAL JURY PRIZE (15 000 USD) The financial award is shared equally by the director and producer of the award-winning film. Men Don’t Cry / Muškarci ne pla ču Directed by: Alen Drljevi ć Bosnia and Herzegovina, Slovenia, Croatia, Germany, 2017 BEST DIRECTOR AWARD Peter Bebjak for the film The Line / Čiara Slovak Republic, Ukraine, 2017 BEST ACTRESS AWARD Jowita Budnik and Eliane Umuhire ex-aequo for their roles in the film Birds Are Singing in Kigali / Ptaki śpiewaj ą w Kigali Directed by: Joanna Kos-Krauze, Krzysztof Krauze Poland, 2017 Film Servis Festival Karlovy Vary, Panská 1, 110 00 Praha 1, Czech Republic Tel. -
Director and Petr Jarchovský – Writer
A new Czech feature film set in the present day from the creative workshop of Jan Hřebejk – director and Petr Jarchovský – writer A biting comedy about a world in which the female principle is stronger than the male, soft is stronger than hard, and water is stronger than stone. Czech premiere September 5, 2007 BASIC INFORMATION ABOUT THE FILM Directed by Jan Hřebejk Story Petr Jarchovský and Jan Hřebejk Written by Petr Jarchovský Director of photography Jan Malíř Production designer Milan Býček Costume designer Katarína Bieliková Edited by Vladimír Barák Sound Michal Holubec Music archive Produced by Total HelpArt T.H.A. film and television co. In cooperation with TV Nova, HBO, RWE Producer Ondřej Trojan – Total HelpArt T.H.A. Starring Anna Geislerová, Táňa Vilhelmová, Nataša Burger, Jiří Macháček, Ivan Trojan, Roman Luknár, Klára Issová, Zuzana Fialová, Jiří Menzel, Věra Křesadlová, and others With financial support The Czech state fund for the support and from development of the Czech film industry Length 98 minutes Format 1:1.85 Sound Dolby Digital ABOUT TEDDY BEAR Jirka, Roman, and Ivan have been friends since school. Today they are about 35 and, although they went into different fields, their friendship has lasted. They are married (Jirka’s wife is named Vanda, Roman’s is Anna and Ivan’s is Johanka), each is working on his career, and they are doing well. Jirka is a gallery owner, Roman a doctor, and Ivan a diplomat. Each of the three friends hides a secret, and their lives change radically when the secrets come out. How will the three friends stand up to the tests they are forced to face? Will their friendship survive? Does such friendship exist among the women? The three marital etudes are interconnected: while one is developing, another is just beginning and touches on questions brought up by the first two or alters them. -
Conflicted Cultural Memory and U.S. Foreign Policy: the “Lost Ca(U)Se” of the U.S
Ad Americam. Journal of American Studies 19 (2018): 123-142 ISSN: 1896-9461, https://doi.org/10.12797/AdAmericam.19.2018.19.09 Kryštof Kozák Department of North American Studies Charles University, Prague, Czech Republic https://orcid.org/0000-0001-8768-6428 Conflicted Cultural Memory and U.S. Foreign Policy: The “Lost Ca(u)se” of the U.S. Radar Base in the Czech Republic1 This article analyzes the developments in cultural memory in Czech-U.S. relations since the end of the Cold War with a special emphasis on the heated debate about placing a U.S. radar base on Czech soil in 2008. It first describes the abrupt transformation in cultural memory related to the transition from communist rule from the transatlantic per- spective. It claims that the debate about the radar base is a clear indication of the shift within cultural memory, which became much more contested, especially when compared with the previous period culminating with the Czech Republic’s entry into NATO. As cultural memory is closely linked to dominant historical narratives as well as identity, the findings have serious implications for the future of the transatlantic ties in the region. Key words: cultural memory, foreign policy, transatlantic ties, U.S.-Czech relations, radar base 1. Introduction This article analyzes the role of cultural memory in Czech-U.S. relations since the Velvet Revolution of 1989. It claims that while efforts to cultivate cultural memory helped to sustain good Czech-U.S. relations, a fresh impetus is needed if cultur- al memory is to remain one of the significant binding ties between the two coun- tries. -
OP Presskit.En
Total HelpArt T.H.A., Czech Television and PubRes present a film by Ondřej Trojan Identity Card screenplay by Petr Jarchovský based on the novel by Petr Šabach Key Information Petr Jarchovský, inspired by Petr Šabach’s novel of Screenwriter the same name Director Ondřej Trojan Producer Ondřej Trojan Cinematographer Martin Štrba Art Director Milan Býček Costume Design Katarína Bieliková Makeup Jana Bílková Music Petr Ostrouchov, Bob Dylan, Ľuboš Beňa and Matěj Ptaszek, Sweet Editing Vladimír Barák Sound Jiří Klenka Production Company Total HelpArt T.H.A. Co-producers Czech Television PubRes In collaboration with HBO Production Management Michaela Syslová Kuchynková Libor Kovář, Matouš Vrba, Jan Vlček, Jakub Šárka, Cast Anna Geislerová, Martin Myšička, Marek Taclík, Kristýna Liška-Boková, Magdalena Sidonová, Jana Šulcová, Jaromír Dulava, Jiří Macháček, Václav Kopta, Oldřich Vlach, Matej Landl, Jan Vaši, Jenovéfa Boková, Jakub Jánoš, Adam Kubišta, Lilian Malkina, Lukáš Latinák, Marina Vyskvorkina, Juraj Nvota, Nella Miščíková, Jana Kepková Made with backing from The Czech State Fund for the Support and Development of Czech Cinematography The Ministry of Culture of the Slovak Republic Media Genre comedy-drama Runtime 137 minutes Format 35 mm film, classic (1:1.85), Dolby Digital *5.1 Target Audience viewers aged over 12 2 SYNOPSIS Identity Card , a bittersweet comedy directed by Ondřej Trojan and based on the novel by Petr Šabach, follows the lives of four boys – their friends, first loves and conflicts with their parents – from the age of 15, when they receive their state identity cards, to 18, when they try everything possible to get out of military service. -
Report on the Slovak Audiovisual Situation in 2018
REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2018 REPORT ON THE S LOVAK AUDIOVISUAL SITU A TION IN 2018 > CONTENT – Introduction ...................................................................... 03 – This project has been funded with the support from the European Commission. – Legislation ....................................................................... 04 – This publication reflects the views only of the author, – Film Education ................................................................. 05 and the Commission cannot be held responsible for any use which may be made of the information contained therein. – Film Production ................................................................ 07 – Audiovisual Fund .............................................................. 10 – Literary Fund ................................................................... 13 – MEDIA Sub-programme ..................................................... 13 – Eurimages ....................................................................... 15 – Cinema Distribution ......................................................... 15 – Videodistribution ............................................................. 20 – Cinemas ........................................................................... 22 – Film Clubs ....................................................................... 25 – Domestic Festivals and Reviews .......................................... 25 – Awards for Slovak Films and Filmmakers in Slovakia ........... 27 – Awards for