A Film by Bohdan Sláma

Total Page:16

File Type:pdf, Size:1020Kb

A Film by Bohdan Sláma ICE MOTHER A FILM BY BOHDAN SLÁMA 67-year old Hana is the good soul of her family. Every One day, while Hana is looking for Ivánek who sneaked week her sons come over with their wives and children for out, she finds a man, Broňa, floating at the riverside, unable to their family dinner. It is a family tradition not to be changed. move. She jumps in and helps him to get out of the icy water. Selfless, Hana takes care of the little Ivánek, who is not really Hana gets to know his elderly friends and suddenly she is cherishing his grandma’s help. She also supports her other included in a new social circle. Even little Ivánek is interested son with money everytime he asks for it – and he asks a lot. A in the funny quirky group of ice swimmers. warmhearted yet modest person, Hana continues to live alone in the old family house without changing a thing ever since Light-hearted Broňa, who lives in an old camper bus near her husband died a few years ago. She might need a helping the river, inspires Hana’s lust for life. They become lovers, hand but both her sons are too busy and too selfish to see it. but when she introduces him to her sons, the whole family is shocked. In a series of events and dark secrets, Hana has to stand up and start changing her life. Born in 1967 in Opava, Czech Republic, Bohdan Sláma studied film directing at Prague Film School FAMU. His debut feature Wild Bees won a Tiger Award at its premiere in Rotterdam. His second feature Something Like Happiness 2017 Ice Mother (Bába z ledu) premiered in 2005 at San Sebastian, winning the Main and 2012 Four Suns (Čtyři Slunce) the Best Actress Award. The film has been sold to more 2008 Country Teacher (Venkovský Učitel) than twenty territories worldwide. Country Teacher was 2005 Something Like Happiness (Štěstí) premiered at Venice in 2008. Variety named Sláma one of 2001 Wild Bees (Divoké Včely) “10 Directors to Watch“ in 2009. Sundance Film Festival screened his latest feature Four Suns in competition in 2012. “The central character of all my films is a contemporary takes even the smallest step towards adulthood, for me it will family. I consider a family solidarity a basic prerequisite for a represent a huge story. fulfillment of human existence. If this basic solidarity is in any way disrupted, it always represents a powerful dramatic motif The winter swimmers club is a community of people who for me and I try to work it into a story. This film is told from like each other. They share the urge to surpass themselves, the point of view of Hana, a mother of two adult sons. Her sons every time they go into the cold water it hurts and they are used Ivan and Petr have never actually grown up to be adults, they to cheering each other up even though during competitions act like two childish selfish creatures who are used to treat they are rivals. There is a lawyer as well as a bricklayer, a their mother like an object of a daily consumption. doctor as well as an ordinary shop assistant, the cold water wipes away all the differences, in the water everyone is equally Increasing childishness, selfishness and narcissism in vulnerable and equally powerful at the same time. today‘s society are key themes for me. Unwillingness to grow up, unwillingness to accept the responsibility for one‘s Water is a basic life-giving element. Immersing in cold surroundings, devastation of natural human relationships and water is the basis of a purging ritual in all cultures. An image emotional attachments result in a loss of an authenticity of life, of a fragile human body swimming in the cold element brings in its crippling and dehumanization. If any of my characters out a hope.“ He was born 1948 in Pilsen (CZ). After finishing his studies, Nový started his career in theatre. His first biggest role in films came at the end of the seventies with Ballad for a Bandit by Vladimír She was born in 1952 in Martin, Sís and Build the House, Plant a Tree by Slovakia. She is a recognized and Juraj Jakubisko. His popularity came acclaimed theatre, TV and film actress. just after he played Pepa in the famous Zuzana started her career in the Czech comedy With You the World Is begining of 70‘s and starred in dozens Fun by Marie Poledňáková. He played films such as When the Stars Were Red by dozens of characters, out of which the Dušan Trančík premiered in Berlinale most significant ones are coming from 1991, Pupendo by Jan Hřebejk winner of cooperation with Jan Švankmajer, in films two Czech Lions and as well in Bohdan like Conspirators of Pleasure nominated Sláma‘s first film Wild Bees, which she for the Czech Lion and Little Otik which won the Czech Lion for Best Actress. won the Czech Critics Award. Hana ~ Zuzana Kronerová Writer & Director ~ Bohdan Sláma Broňa ~ Pavel Nový Director of Photography ~ Diviš Marek Ivánek ~ Daniel Vízek Editor ~ Jan Daňhel Ivan ~ Václav Neužil Sound ~ Michal Holubec & Marek Poledna Kateřina ~ Tatiana Vilhelmová Production Designer ~ Jan Vlasák Petr ~ Marek Daniel Producers ~ Pavel Strnad & Petr Oukropec Věra ~ Petra Špalková Zuzana ~ Alena Mihulová Production Companies ~ Negativ (CZ), Artileria (SK), Květa ~ Marie Ludvíková Why Not Productions (FR) Ludva ~ Luboš Veselý Co-Production Companies ~ Česká televize (CZ), Barrandov studio (CZ), Rozhlas a televízia Slovenska (SK) Supported by ~ State Cinematography Fund (CZ), Eurimages (EU), MEDIA (EU) TECHNICAL DETAILS: Format ~ RED, Cinemascope · Sound ~ 5.1 · Duration ~ 105 min · Original Language ~ Czech The Match Factory GmbH Domstrasse 60 50668 Cologne / Germany phone +49 221 539 709-0 fax +49 221 539 709-10 [email protected] www.the-match-factory.com Steven Raphael required viewing phone 212 206-0118 [email protected] [email protected].
Recommended publications
  • The Silence of Lorna
    Surviving Life (Přežit Svůj Život) a film by Jan Švankmajer Czech Republic / Slovakia 109 mins/ Certificate 15 DVD release date: June 11 2012 FOR ALL PRESS ENQUIRIES OR TO REQUEST IMAGES PLEASE CONTACT:- Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/ E-Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT:- Robert Beeson – New Wave Films 10 Margaret St London W1W 8RL Tel: 020 3178 7095/ E-Mail: [email protected] Further information on www.newwavefilms.co.uk new wave films Surviving Life Director Jan Švankmajer Script Jan Švankmajer Producer Jaromír Kallista Co‐Producers Juraj Galvánek, Petr Komrzý, Vít Komrzý, Jaroslav Kučera Associate Producers Keith Griffiths and Simon Field Music Alexandr Glazunov and Jan Kalinov Cinematography Jan Růžička and Juraj Galvánek Editor Marie Zemanová Sound Ivo Špalj Animation Martin Kublák, Eva Jakoubková, Jaroslav Mrázek Production Design Jan Švankmajer Costume Design Veronika Hrubá Production Athanor / C‐GA Film CZECH REPUBLIC/SLOVAKIA 2010 ‐ 109 MINUTES ‐ In Czech with English subtitles CAST Eugene , Milan Václav Helšus Eugenia Klára Issová Milada Zuzana Kronerová Super‐ego Emília Došeková Dr. Holubová Daniela Bakerová Colleague Marcel Němec Antiquarian Jan Počepický Prostitute Jana Oľhová Janitor Pavel Nový Boss Karel Brožek Fikejz Miroslav Vrba SYNOPSIS Eugene (Václav Helšus) leads a double life ‐ one real, the other in his dreams. In real life he has a wife called Milada (Zuzana Kronerová); in his dreams he has a young girlfriend called Eugenia (Klára Issová). Sensing that these dreams have some deeper meaning, he goes to see a psychoanalyst, Dr. Holubova, who interprets them for him, with the help of some argumentative psychoanalytical griping from the animated heads of Freud and Jung.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Title Call # Category Lang./Notes
    Title Call # Category Lang./Notes K-19 : the widowmaker 45205 Kaajal 36701 Family/Musical Ka-annanā ʻishrūn mustaḥīl = Like 20 impossibles 41819 Ara Kaante 36702 Crime Hin Kabhi kabhie 33803 Drama/Musical Hin Kabhi khushi kabhie gham-- 36203 Drama/Musical Hin Kabot Thāo Sīsudāčhan = The king maker 43141 Kabul transit 47824 Documentary Kabuliwala 35724 Drama/Musical Hin Kadının adı yok 34302 Turk/VCD Kadosh =The sacred 30209 Heb Kaenmaŭl = Seaside village 37973 Kor Kagemusha = Shadow warrior 40289 Drama Jpn Kagerōza 42414 Fantasy Jpn Kaidan nobori ryu = Blind woman's curse 46186 Thriller Jpn Kaiju big battel 36973 Kairo = Pulse 42539 Horror Jpn Kaitei gunkan = Atragon 42425 Adventure Jpn Kākka... kākka... 37057 Tamil Kakushi ken oni no tsume = The hidden blade 43744 Romance Jpn Kakushi toride no san akunin = Hidden fortress 33161 Adventure Jpn Kal aaj aur kal 39597 Romance/Musical Hin Kal ho naa ho 41312, 42386 Romance Hin Kalyug 36119 Drama Hin Kama Sutra 45480 Kamata koshin-kyoku = Fall guy 39766 Comedy Jpn Kān Klūai 45239 Kantana Animation Thai Kanak Attack 41817 Drama Region 2 Kanal = Canal 36907, 40541 Pol Kandahar : Safar e Ghandehar 35473 Farsi Kangwŏn-do ŭi him = The power of Kangwon province 38158 Kor Kannathil muthamittal = Peck on the cheek 45098 Tamil Kansas City 46053 Kansas City confidential 36761 Kanto mushuku = Kanto warrior 36879 Crime Jpn Kanzo sensei = Dr. Akagi 35201 Comedy Jpn Kao = Face 41449 Drama Jpn Kaos 47213 Ita Kaosu = Chaos 36900 Mystery Jpn Karakkaze yarô = Afraid to die 45336 Crime Jpn Karakter = Character
    [Show full text]
  • Jan Švankmajer - Wikipedia, the Free Encyclopedia 2/18/08 6:16 PM
    Jan Švankmajer - Wikipedia, the free encyclopedia 2/18/08 6:16 PM Jan Švankmajer From Wikipedia, the free encyclopedia Jan Švankmajer (born 4 September 1934 in Prague) is a Jan Švankmajer Czech surrealist artist. His work spans several media. He is known for his surreal animations and features, which have greatly influenced other artists such as Tim Burton, Terry Gilliam, The Brothers Quay and many others. Švankmajer has gained a reputation over several decades for his distinctive use of stop-motion technique, and his ability to make surreal, nightmarish and yet somehow funny pictures. He is still making films in Prague at the time of Still from Dimensions of Dialogue, 1982 writing. Born 4 September 1934 Prague, Czechoslovakia Švankmajer's trademarks include very exaggerated sounds, often creating a very strange effect in all eating scenes. He Occupation Animator often uses very sped-up sequences when people walk and Spouse(s) Eva Švankmajerová interact. His movies often involve inanimate objects coming alive and being brought to life through stop-motion. Food is a favourite subject and medium. Stop-motion features in most of his work, though his feature films also include live action to varying degrees. A lot of his movies, like the short film Down to the Cellar, are made from a child's perspective, while at the same time often having a truly disturbing and even aggressive nature. In 1972 the communist authorities banned him from making films, and many of his later films were banned. He was almost unknown in the West until the early 1980s. Today he is one of the most celebrated animators in the world.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • Michael-Nottingham-Downing-The-Folk-Festive-Menacing-Meals-In-The-Films-Of-Jan
    EnterText 4.1 MICHAEL NOTTINGHAM Downing the Folk-Festive: Menacing Meals in the Films of Jan Svankmajer Jan Svankmajer is perhaps best known as an animator of clay figures and marionettes who casts his creations in stories adapted from or inspired by gothic or central European folk literature. Svankmajer’s films are immediately recognisable by their inanimate actors’ stylised gestures, movement and appearance, yet they also have in common a less obvious thematic signature in their overriding fixation with the oral and in particular their recurrent images of food and consumption. Svankmajer has said of this, “I was a non-eating child—my mother always forced me to eat.”1 While personal experience no doubt plays an important role in the gestation and realisation of his narratives—Svankmajer has often credited his childhood as an important if not his major well of ideas—one suspects there is more to this than he is letting on. An examination of his work suggests other influences, including the Czech variants of surrealism and communist censorship that he was to embrace and suffer respectively, as well as the aesthetic and ideological underpinnings of the grotesque and Michael Nottingham: Downing the Folk-Festive 126 EnterText 4.1 folk-festive, which characterise much of his early central European and gothic source material. Since 1964, Svankmajer has been making films—primarily short films, but more recently a handful of feature-length efforts—that combine stop-motion animation with live action to uncanny and often blackly humorous effect. A self-described “militant surrealist,” Svankmajer’s efforts extend beyond the screen to the graphic and plastic arts—in fact, he practised only these between 1972 and 1979 when state censors forbade him to make films.
    [Show full text]
  • National Gallery of Art Spring 2012 Film Program
    FILM SPRING 2012 National Gallery of Art 9 Art Films and Events 16 Japanese Divas 24 American Originals Now: Ernie Gehr 27 Michael Cacoyannis 31 The Tales of Jan Švankmajer 34 Bill Morrison: Recent Work The Miners’ Hymns p. 34 National Gallery of Art cover: Hanezu p. 9 Films are screened in the Gallery’s East Building Audito- The spring film season brings key restorations, new works, rium, Fourth Street and Pennsylvania Avenue NW. Works and special guests in a celebration of the art of the moving are presented in original formats and seating is on a image. Japanese Divas spotlights thirteen feature films, first-come, first-seated basis. Doors open thirty minutes primarily from the 1950s, by auteurs such as Yasujiro Ozu, before each show and programs are subject to change. Kenji Mizoguchi, and Akira Kurosawa, who collaborated For more information, visit www.nga.gov/programs/film, with major acting talents like Setsuko Hara, Machiko Kyo, e-mail [email protected], or call (202) 842-6799. Hideko Takamine, Kinuyo Tanaka, and Isuzu Yamada to develop some of the most revered films of the twentieth century. The spectacular world of Joan Miró is explored through a program of short nonfiction profiles of the artist by his friend, famed Catalan director Pere Portabella. The Gallery welcomes back renowned pianist Dennis James in a program of American silents, as well as conductor Gillian B. Anderson, who leads a performance of original scores developed for shorts by Segundo de Chomón. Other pro- grams present the work of legendary Czech animator Jan Švankmajer, two titles by the late Greek director Michael Cacoyannis, three programs of recent shorts by contem- porary American director Bill Morrison, and a weekend of films and videos by the deeply influential avant-garde filmmaker Ernie Gehr, who will appear in person.
    [Show full text]
  • Spring 2020 the Czech Film Fund Is the Main Public Financing Body for Cinema in the Czech Republic
    Spring 2020 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 Jaroslav Kejzlar Magda Rajlichová Editor & Communication Administration & Production e-mail: [email protected] e-mail: [email protected] tel.: +420 601 326 883 tel.: +420 774 316 427 Dear Friends of Czech Film, I thought a long time about how to introduce this spring issue of the Czech Film Fund magazine.
    [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]
  • Manipulation: Jan Švankmajer´S Animation Technique and Criticism on Civilization
    Manipulation: Jan Švankmajer´s Animation Technique and Criticism on Civilization Haruka Kawakami+ (Japan) Abstract “Manipulation” is an important concept in the films of Jan Švankmajer, an influen- tial Czech surrealist filmmaker. As a surrealist artist who aims for the liberation of humans from any kind of restraint, he insists that people should resist all kinds of societal manipulations. His insistent exposure of manipulation can be seen as a protest against its concealment as a convention. However, the idea of manipulation has more ambiguous meanings in his films. Švankmajer brings inorganic objects to life through careful manipulations, such as stop-motion animation, while applying the same techniques to humans to disrupt their identities. Consequently, both hu- mans and objects are represented as puppets: humans as quasi-objects and objects as quasi-autonomous things. These hybrid puppets expose the contradicting nature of human beings, perpetually in the tension between freedom and restraint. Keywords: Czech-Slovak Surrealism++ Manipulation, Puppets, Stop-motion Animation, Sur- realist Film, Jan Švankmajer, Animation + Haruka Kawakami, doctoral student, Graduate School of Literature and Human Sciences, Osaka City University, Japan. ++ In more recent years, the term Czech-Slovak Surrealism is being used more than the older Czechoslovakian Surreal- ism after Czechoslovakia split into two countries: Slovakia and the Czech Republic in 1993. Manipulation – Jan Švankmajer’s Animation Technique and Criticism on Civilization | 79 Introduction This paper examines the films of Jan Švankmajer (1934-) and the concept of manipulation, which plays a significant role in his works. Švankmajer is a Czech visual artist who has created many provocative artworks in various media, includ- ing mixed-media sculptures, collages, and assemblages.
    [Show full text]
  • From Puppet to Cyborg: Posthuman and Postmodern Retellings of the Pinocchio Myth
    FROM PUPPET TO CYBORG: POSTHUMAN AND POSTMODERN RETELLINGS OF THE PINOCCHIO MYTH By Georgia Panteli Thesis submitted to University College London for the Degree of Doctor of Philosophy CENTRE FOR MULTIDISCIPLINARY & INTERCULTURAL INQUIRY (CMII), SCHOOL OF EUROPEAN LANGUAGES, CULTURE & SOCIETY (SELCS) UNIVERSITY COLLEGE LONDON 1 Declaration of Authorship I, [Georgia Panteli] confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract The myth of Pinocchio is the story of a puppet that desires to become human and achieves it with the power of his will. Created by Carlo Collodi in The Adventures of Pinocchio, the myth of Pinocchio is linked to the fairy tale tradition and is the most recent manifestation of the animate/inanimate archetype. This thesis is the first systematic study of the Pinocchio myth and examines how it has been used and reinterpreted in different retellings across different media and disciplines. The first part of this study focuses on Pinocchio retellings in film and shows that the most contemporary example of the Pinocchio myth is in the story of the sentient cyborg/robot that desires humanity. Moving from the classic in the field of cyborg studies Blade Runner through Spielberg’s A.I. Artificial Intelligence, which directly links the robot to Pinocchio, to the least technophobic and most transhumanist Battlestar Galactica, Chapter 1 demonstrates how all case studies are connected to Collodi’s novel through the confrontation scene, a specific passage in the text which touches upon the core of the Pinocchio myth, as Pinocchio is confronted both by the Blue Fairy and his corporeality.
    [Show full text]