FOUNTAIN FOR ZUZANA OR GNAWING THE NATIONAL IDENTITY
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The authoress in her study deals with the phenomenon of a free cycle of films by Dusan Rapos which were originating gradually from 1985 until 2003. In the first part - a song film 'Fountain for Zuzana', which a year after its presentation in cinemas succeeded to acquire an extraordinary high visit rate given the Slovak conditions - more than a million spectators, representing one fifth of the whole population, the authoress is following director's interest in getting to know the collective identity of the youth living in block of flats. The second part was originating in the period when after a parliamentary agreement Czech and Slovak Federal Republic had been divided into two independent states and according to findings of the authoress of this study 'Fountain for Zuzana II' 'is not choosing an approach of non interest, nor the approach of a celebration of the national identity, but is unwillingly pointing at its possible emptiness'. The third part of the cycle 'Fountain for Zuzana III' was filmed in exotic Africa and gave the authors an opportunity to compare the world of 'white - colonial' culture with local habits and traditions. In the connecting part called Suzanne, the director is focusing at an analysis of drug addicted youngsters. The authoress is stating that Rapos' films could articulate feelings of a relatively wide circle of people, even though the knowledge was in many cases superficial and banal. In this respect she sees a key difference between Rapos' films and their commercial success and spectators' popularity, and work of art of other young Slovak filmers who concentrated on subjects whose reference value is substantially narrower and who are not able to address an undevouted spectator.
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