Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

„ŽENA S KINOAPARÁTOM“ ALEBO DOKUMENTÁRNY FILM PODĽA ZUZANY PIUSSI

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 3
268 – 284
EN
This paper interprets the work of documentary filmmaker Zuzana Piussi in terms of its clear similarities and differences to the principles of filmmaking employed by Dziga Vertov and the style of cinéma-vérité. Only in this way can one reach a definition of the additional original elements in her approach to directing and her distinctive authorial style. The paper outlines the main characteristics of Piussi’s work, so that it can be reflected upon from the perspective of authorial strategy, and discusses the relationship of Piussi as filmmaker to the protagonists in her films, her involvement in the plot itself, the thematic focus of her work, the use of technology in capturing both image and sound, the editing of the filmed material and the resolution of ethical matters in her authorial approach to the protagonists. Piussi is a filmmaker more concerned with the content of a film than its objectivity or form. She has a talent for finding current, controversial, ethically questionable and politically “unpleasant” themes to base her work on. She works with a small film crew and often at her own expense, so she is not subject to the demands of a film producer. Her independence allows her to critically act as a journalist and thus unmask the ills in our society.
2
Content available remote

TVORBA A SEBAKRITIKA

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2011
|
vol. 59
|
issue 4
343 – 348
EN
The study attempts to trace self-critical elements related to the reflection of film art on the three examples. The first example refers to the debutants of the French new wave, who began their career as film critics around the magazine Cahiers du Cinema. Later they moved from critical reflection of contemporary cinema to self-critical new film making, trying no longer repeat the past mistakes, which were in the sharp contrast to their own definition of film making. The second example relates to the functioning of self-critical reflection of the author who discusses his work from the adequate time perspective, as in the book of interviews between F. Truffaut and A. Hitchcock. A third example, the film by Korean director Kim Ki Duk Arirang (2011), critically describes his current situation which the author controls the best through the communication medium.
3
Content available remote

ČESKÉ A SLOVENSKÉ PRIENIKY V DOKUMENTÁRNOM FILME PO ROKU 1993

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2011
|
vol. 59
|
issue 3
195 – 207
EN
The paper focuses on the delineation of national themes as they began to occasionally crop up in Slovak documentary film after the break-up of the Czechoslovak Federative Republic. In its introductory part, it examines the phenomenon of Czech and Slovak infiltrations in feature and documentary films from the point of view of the natural historical development of common Czechoslovak cinematography. In the second part, based on the factual examples of the documentary film production between 1992 and 1999, the paper highlights thematic and content trends, which reflected the quest for independence of both the nations and their cinematography. In the third, final part, it is concluded that after the year 2000, there has been a decline of the interest of Slovak film professionals in the theme of the split of Czechoslovakia into two independent states. In the process of contemplating over national aspects, the increasingly favoured portrayal is that of a multi-ethnic community composed of a variety of identities, which subsequently co-establish common entity, i.e. the nation.
4
Content available remote

POSTMODERNÉ, KOGNITÍVNE, INTENCIONÁLNE, INŠTRUMENTÁLNE A SEMIO-PRAGMATICKÉ TEÓRIE DOKUMENTÁRNEHO FILMU

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 4
328 - 337
EN
The author compares and contrasts theoretical approaches which contemporary film theorists and philosophers employ in an effort to capture the essence of non-fiction cinema. He explicates postmodern, cognitive, intentional, instrumental and semio-pragmatic theories of documentary film as we encounter them in the contemporary theoretical reflection, especially in works by Gregory Currie, Noël Carroll, Bill Nichols, David Bordwell, Carl Plantinga, or Roger Odin. Detailed attention is paid especially to three concepts/definitions/approaches to documentary production: Documentary as Indexical Record (Currie), Documentary as Assertion (Carroll) and Asserted Veridical Representation (Plantinga). The study aims to stimulate a discussion of Slovak documentary production that would reflect the current state of thinking about documentary film.
5
Content available remote

ČASOVÁ A PRIESTOROVÁ SUBORDINÁCIA V SYSTÉME FILMOVEJ OBRAZOVEJ SKLADBY

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2013
|
vol. 61
|
issue 1
3 – 14
EN
Applying the theory of temporal and spatial subordination, the study attempts to define on the given examples the spatial and temporal relationships that occur in the film composition. The author starts with the assumption that we can talk about spatial composition in the film when the subordination of time occur in two consecutive shots and the circumstances of time and space remain the same. In such cases, we talk about the time subordination whereas considering spatial composition anomalies always occur, such as distortions of objective time, its shortening or lengthening, at the expense of spatial relationships. On the other hand, we are able to distinguish time composition when it comes to subordination of space. We talk about it when in the variable point between two shots the space-time circumstances are changing on the basis of adhesion. In these connections, there will always be recognizable and radical shifts in time, while the possibility of variability of these connections may develop in several standard directions on the basis of linear logic: chronologically, retrospectively, or simultaneously in the parallels, hypothetically or through certain predisposition.
6
Content available remote

SLOVENSKÉ DOKUMENTÁRNE DEBUTY PO ROKU 2012

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 4
395 - 408
EN
The present study analyses authorial approaches and themes brought by the generational change that set in after the most successful generation of documentary makers, the “Generation 90”, switched to producing feature films. The debuting authors Miro Remo, Vladislava Plančíková, Arnold Kojnok, Adam Oľha and Patrik Lančarič draw from the creative heritage of the previous generation and their work is an uninterrupted continuation of the work of those documentary makers. A departure can be seen especially in their focus on portrait documentaries (depicting individuals, groups or themselves), the examination of subjectively perceived historical themes and their inclination towards first-person narration and the revelation of private family stories. The only documentary maker that is different from the rest is Miro Rem, who tries to keep pace with current issues. All the other documentary makers continue re-evaluating history, ‘small’ history in contrast to ‘big’ history, or examining private family stories. Besides sporadic attempts at adding interest to their film language with animated passages, they use a lot of archival audio-visual materials.
7
Content available remote

AUTORSKÝ DOKUMENTÁRNY FILM A JEHO VÝVOJOVÉ TENDENCIE V TEORETICKEJ REFLEXII

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 2
129 - 139
EN
This study defines authorial documentary film from the viewpoint of both domestic and foreign film theory. The author notices significant intergeneric differences especially between live action and documentary film. In historical survey he compares basic characteristics and definitions which have appeared in different developmental stages of film studies. Besides theorists, they have been influenced often also by filmmakers. Their development has been significantly affected also by the technical possibilities and restrictions of the time. Critical theory features a division of films according to objectivity (authenticity) and subjectivity (authorship). This division is present in the functional definition of subgroups, which are taken into account in defining documentary film: a relationship of the medium to reality, the analysis of directorial and authorial approaches, formal and stylistic procedures, the specification of genres, dramaturgical and narratological concepts of a work, and the role of a protagonist in a documentary. The authorial documentary film cannot be understood only as the director’s personal contribution to the film, but an important role is also played by collective authorship or the influence of the whole production crew on the recreation of facts stemming from reality.
8
Content available remote

PRVÉ FILMY DOKUMENTARISTOV JARA VOJTEKA, JURAJA LEHOTSKÉHO, PETRA KEREKESA A DANIELY RUSNOKOVEJ

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2013
|
vol. 61
|
issue 4
421 - 434
EN
The study looks at the more significant from among the early works of prominent Slovak documentary filmmakers Jaro Vojtek, Juraj Lehotský, Peter Kerekes and Daniela Rusnoková which ushered in their later full-length films. The seeds of their directorial methodologies and styles can be traced back into the early days of their filmmaking careers, defining and forming their own and original styles in opposition to the others. All four are graduates of the Academy of Performing Arts in Bratislava and made their first films either as a part of their student assignments in the second half of the 1990s or shortly after the graduation at the turn of the millennium. Nowadays, all four filmmakers are the major representatives of the Slovak documentary cinema.
9
Content available remote

ANGAŽOVANOSŤ AUTORA V SOCIÁLNOM DOKUMENTÁRNOM FILME

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 3
221 - 230
EN
The author of this study seeks an answer to the question what “authorial documentary film” is. He selects examples from the area of social-critical documentary film, especially lower forms of documentation – a weekly and a newsreel. In a historical perspective he follows how directors realized authorial engagement in dealing with documentary themes for a socio-critical purpose. The authorial work is then put into contrast with genre conventions which do not allow the presence of authors’ subjective view in documentary films. In the cases when authors purposefully transcend the conventions of documentary genres, viewers are confronted mainly with a subjective interpretation of facts. This line of reasoning about authorial and genre documentary film has been present in Slovak theory since the 1980s and corresponds with current Western approaches to understanding documentary film, which compare current documentary films to feature films in terms of how they construct narratives. In its conclusion the author of this study proposes dividing any film production to genre and authorial production. The reason is that authorial documentary production goes beyond the objective documentary functions of documentary film and is independent of genre conventions. In addition, its subjective interpretation of themes makes it similar to feature film production.
10
Content available remote

MULTIKULTURALITA AKO FENOMÉN VO FILMOCH S TEMATIKOU HRANICE

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 3
314 – 321
EN
The study focuses on Central European documentary films which directly suggest the concept of multiculturalism as they take place in an environment of mixed and coexisting cultures and subcultures, living in the geographically divided or frontier areas. The perception of intercultural dialogue in the context of the Central European and in Slovak cinema is largely monologic, facing inward, with strict hierarchy of perceptions of cultural clashes. The dominant culture responds to other cultures from the perspective of power and the presence of minority is regarded as schematic and stereotyped. Therefore, transnational solidarity occurs only rarely. This situation can be attributed to the long period of closure of national and cultural boundaries among the Central European nations with their relationships based only on the common ideology and often treated the cultures of the other ideological block as their enemies. After 1989 and after the emergence of new states, there was an increase of the nationalist passions related to the national consciousness in the early years of nation-building, and since joining the European Union, the native Central European cultures have been taking lessons of how to cope with their own minorities, and respond to new cultures of immigrants, or other previously marginalized groups and collective identities.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.