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Czech Fiction Films 2019-2020
F CZECH FILMS 2019–2020 FICTION CZECH FICTION FILMS 2019–2020 WWW.FILMCENTER.CZ | WWW.FONDKINEMATOGRAFIE.CZ CZECH fiction FILMS 2019–2020 Published by Czech Film Fund. Czech Film Center division of the Czech Film Fund Dukelských hrdinů 47 170 00 Prague 7 Czech Republic catalogue editors: Barbora Ligasová, Vladimíra Chytilová text editor: Denisa Štrbová graphic design: Cellula – Pavel Rakušan printed by: Uniprint print run: 400 not for sale © Státní fond kinematografie, 2020 2 CZECH FICTION FILMS 2019–2020 Dear friends of Czech film, With the arrival of 2020, the Czech Film Fund enters its eighth year of existence. I dare say that everyone knows by now that the Czech Film Fund’s support for Czech cinema is comprehensive – it is not only for production but also for development, distribution, film festivals, projects aimed at promoting Czech cinema, the long-term activity of film institutions, and projects aimed at cooperation within the film industry. In this catalogue you will find not only Czech films on their way to the cinemas or festivals worldwide but also projects that are still in the stages of development, production, or post-production. The catalogue also serves as a map for better orientation in the Czech film environment. It therefore includes contacts for all important institutions and organizations in the Czech film industry, film schools, film festivals, and more. I hope this will give you a good overview of the year 2019 in Czech fiction film as well as what’s ahead of us in 2020. Helena Bezděk Fraňková Director of the Czech Film Fund CZECH FICTION FILMS 2019–2020 3 INTRODUction With the arrival of the new year, the time is here for taking stock and looking back at the most important events in Czech fiction film production in 2019. -
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 -
Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Bečica, Jiří Article Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic Review of Economic Perspectives Provided in Cooperation with: Masaryk University, Faculty of Economics and Administration Suggested Citation: Bečica, Jiří (2018) : Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic, Review of Economic Perspectives, ISSN 1804-1663, De Gruyter, Warsaw, Vol. 18, Iss. 3, pp. 285-299, http://dx.doi.org/10.2478/revecp-2018-0014 This Version is available at: http://hdl.handle.net/10419/194196 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. https://creativecommons.org/licenses/by-nc-nd/3.0/ www.econstor.eu Review of Economic Perspectives – Národohospodářský obzor Vol. -
Fiction Films 2020–2021 Czech
F CZECH films 2020–2021 FICTIon CZECH FICTION FILMS 2020–2021 WWW.FILMCENTER.CZ | WWW.FONDKINEMATOGRAFIE.CZ CZECH FICTION FILMS 2020–2021 Published by Czech Film Fund. Czech Film Center division of the Czech Film Fund Dukelských hrdinů 47 170 00 Prague 7 Czech Republic catalogue editors: Barbora Ligasová, Vladimíra Chytilová text editor: Denisa Štrbová graphic design: Cellula – Pavel Rakušan printed by: Uniprint print run: 200 not for sale © Státní fond kinematografie, 2021 2 CZECH FICTION FILMS 2020–2021 Dear Czech film friends, We have one of probably the strangest years of our lives behind us. The current COVID-19 pandemic has reached an extent we could so far see only in the most bizarre catastrophic films. Numerous limiting restrictions brought about by the pandemic severely affected, among others, also social and cultural areas, including film. Closed cinemas, cancelled festivals, lack of social contacts and significant restrictions in travelling have been some of the consequences. However, despite all the problems and challenging conditions, new film projects still keep emerging and I believe that current and the coming year will bring new films following in the footsteps of The Painted Bird and Charlatan which made Czech filmmakers visible internationally. The catalogue you are holding in your hands includes completed films as well as projects in development, production and postproduction and will help you discover what’s new in Czech fiction film. Helena Bezděk Fraňková Director of the Czech Film Fund CZECH FICTION FILMS 2020–2021 3 INTRODUCTION The worldwide COVID-19 pandemic of 2020 had a heavy impact on Czech film industry. -
Directed by Peter Scherhaufer at Goose on a String Theatre in Brno
¤ Theatralia 21 / 2018 / 2 ¨112ª126¬ ® https://doi.org/10.5817/TY2018-2-8 The Scenography of Shakespearománie I.–III. [The Shakespearomania Trilogy] Directed by Peter Scherhaufer at Goose on a String Theatre in Brno ] Dagmar Inštitorisová Abstract yorick yorick [ The study of the Scenography for Shakespearománie I.–III. [Shakespearomania Trilogy] direc- ted by Peter Scherhaufer at the Goose on a String Theatre in Brno is an analytical and poetolo- gical profiling of the three productions created within the project called SHAKESPEAROMÁNIE [Shakespearomania Trilogy], directed by Peter Scherhaufer, one of the most regarded Cze- choslovak directors of Slovak origin, who is also a co-founder of the Goose on a String Theat- re in Brno. The said productions are: Veličenstva Blázni – SHAKESPEAROMÁNIE I (1988) [Their Majesties’ Fools – Shakespearomania Trilogy I], Lidé Hamleti – SHAKESPEAROMÁNIE II (1990) [The Hamlet Humans – Shakespearomania Trilogy II] and Člověk Bouře – SHAKESPEAROMÁ- NIE III (1993) [The Tempest Man – Shakespearomania Trilogy III]. The emphasis is not only on the scope of dramatic language used in the plays, but also on the development of some of their production and scenographic characteristics in a pretextual situation, their reception, and partly their place within the context of Scherhaufer’s work. Special attention is paid to the prehistory of spatial analysis of dramatic texts – a method, which P. Scherhaufer used when preparing the project. The stage design of the productions within the project is interpreted primarily from the standpoint of semiotics and pretext. Keywords Peter Scherhaufer, project SHAKESPEAROMÁNIE I.–III. [Shakespearomania Trilogy], language, poetics, conventional signs, intertextuality, specifics of individual style, stage design, sceno- graphy 112 text_theatralia_02_2018.indd 112 10.12.2018 12:01:28 Dagmar Inštitorisová The Scenography of Shakespearománie I.–III.