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'THE CYCLIC TIME' AND A RELATION OF A FILM UNDERGROUND TO A SERBIAN POLITICAL ETHNO - MYTH

100%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 2
191-218
EN
In her analysis of Kusturica's film 'Underground', the authoress is dealing with perception of a Balkan 'spirit', which connects 'naturalism' with spontaneity and authenticity, but also with resistence, enabling to endure endless violance. The symbols of vigorousness and resistance are in 'Underground' understood like moral and ambivalent, and instead of a general Balkan spirit, are derived from the history of the Serbian guerilla rebellion. These are constantly exhausting and at the same time naturalistic labels, however not understood to be ancient in the original meaning of the word. The authoress is documenting that if Kusturica urges on certain traits as the sediments of the particular historical events, he has still not been entirely retreating from Balkanism. His vigorousness, 'boisterousness', 'naturalism' which have been until now mentioned by lots of his foreign and domestic fans, and which are in the film 'Underground' given a free passage, especially in the long scene of a wedding ceremony, are pictured by Kusturica using a demostrative irony. These features are predominantly atributs of the manners making the Balkanians traditionally 'different', for 'Europe' for the way of organizing their entertainment - ritualized in the specific ways of a fun and a relaxation. Emir Kusturica (equally with 'Underground' co-screenwriter Dusan Kovacevic) is not intending just to deny or insecure Balkan premises, but above all to consistently nuance them.
2
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REPRESENTATIONS OF THE NATION IN SLOVAK CINEMA AFTER 1989

100%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
|
2007
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vol. 55
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issue 5
562-575
EN
This text is pointing out the vagueness of the national identity concept in contemporary Slovak cinema as well as the uneasiness arising from the emerging requirements of the EU integration, to set ourselves free from the ominous traumas of 'small nations' and to find ways to other forms of presentations of collective identities. It compares especially the development of subjects of Martin Sulik films with the contemporary situation in Slovak fiction film and gradual preferring of documentary film that is now considered a far more cogent medium to represent national identity (which corresponds with moving from Sulik's former style to the social Czech-and-Slovak drama 'The City of the Sun' (2005).
3
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THE PUBLIC MAN 1970-1980

100%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
|
2005
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vol. 53
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issue 3
192-213
EN
Our present knowledge of the history of Slovak cinematography is into a great extent shaped thanks to efforts of the group of film scientists (V. MACEK, J. PASTÉKOVÁ, M. CIEL, M. SMATLÁK, J. MACKO and others) who have within the period of several years after 1989 revolution not only succeeded to systematise the basic cinematography knowledge as such, but also have created new conception systems. Such films from the previous era which could evoke enjoyment and fun were not found, since the majority of films were of a normalisation type. This article concentrates on a new assessment of the normalisation phenomenon in the Slovak cinematography, mainly on its cynicism reflected not only in the well-known censorship strategy and control of all film making phases, but also in film texts. The spotlight of this consideration represents those films in which linear 'realistic' narration is disturbed by complex systems of reminiscences used in a previous decade, in sixties, to achieve formal effects.
4
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FOUNTAIN FOR ZUZANA OR GNAWING THE NATIONAL IDENTITY

100%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
|
2007
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vol. 55
|
issue 3
428-453
EN
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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