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ČESKÉ A SLOVENSKÉ PRIENIKY V DOKUMENTÁRNOM FILME PO ROKU 1993

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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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.
2

ČESKOSLOVENSKÝ POVÁLEČNÝ NACIONALISMUS V MEDIÁLNÍ RECEPCI SNÍMKU JAN ROHÁČ Z DUBÉ

100%
Doležal K.
Historický časopis (Historical Journal)
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2022
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vol. 70
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issue 1
87 – 113
EN
This study explores nationalist strategies inscribed in the media reception of the 1947 Czechoslovak movie Warriors of Faith. While the Slovak press paid only marginal attention to the film, I demonstrate that the Czech press developed an exclusionary Czech nationalist discourse of Hussite tradition while entailing other components of Czech nationalism such as pan-Slavism. The analysis shows that the film reviews can be differentiated according to a clash between non-communist and pro-communist camps. Although the non-communist press criticized the principles of socialist realism, cultural nationalism, and ahistoricism, it failed to present any distinctive narrative. On the other hand, pro-communist reviews framed the movie as a normative model for Czechoslovak politics and society, emphasizing elements of Czech nationalism, rendering it an authentic part of communist ideology. They did so by transposing historical realities to the present-day moment and prompting the „legacy fulfilment“ of the proto-communist martyr Jan Roháč to (re)invent Czechoslovak unity and Slavic integrity.
3

EXTINCTION OF THE UKRAINIAN CULTURE OF THE POLISH-UKRAINIAN-SLOVAK BORDERLAND AND THE IMAGE OF THE “UKRAINIAN BANDERITE” IN POLISH AND CZECHOSLOVAK LITERATURE, JOURNALISM AND CINEMATOGRAPHY, MID-1940S–1980S

86%
Drozd R., Šmigeľ M.
Muzeológia a kultúrne dedičstvo
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2020
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vol. 8
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issue 2
91 – 116
EN
The aim of this study is to outline the process of the extinction of Ukrainian culture in south-eastern Poland as a result of Polish resettlement actions and the activities of the Ukrainian underground movement (i.e., the Ukrainian Insurgent Army) in the post-war period (1944–1947). Concurrently, the study offers an analysis of the image of the “Ukrainian Banderite”, created by propaganda in Polish and Czechoslovak literature, journalism, and cinematography in the period from the mid-1940s to the end of the 1980s. The authors state that both in Poland and in Czechoslovakia the analysed topic has been subject to certain cyclical waves of interest, or current political demand or usefulness, but always according to an established and politically accepted template. The black-and-white reception of the issue, propaganda fictions, the concealment of facts, and the disproportionate highlighting of others, which were applied in the literary and film production of the real-socialist period, only distorted the historical objectivity of the issue and created a complicated stereotype in the collective memory.
4
Content available remote

PERCEPTION AND APPERCEPTION IN TERMS OF LEIBNIZ PHILOSOPHY OR THE NATURE OF CINEMATOGRAPHIC SUBJECTIVISATION (Percepcia a apercepcia z hladiska Leibnizovej filozofie alebo povaha kinematografickej subjektivizacie)

72%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
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issue 4
306-313
EN
The philosophical concepts by Gottfried Leibniz, Henri Bergson and Gilles Deleuze, and especially parts that contributed to the development of theoretical thinking about film became the inspiration for writing this study. Leibniz writes about perception and apperception as two fundamental moments of cognition of the external (object) and the internal (subject). Identification occurs during the impact of film illusion on perception that is identification of perception of sentient (viewer) and perceived projection (film images). Due to the identification with film, a viewer is able to respond to the film content authentically and realistically. Extent of identification, which is the essence of film experience, is one of the ways how to approach the understanding of film reality. The second way is the realization of this relationship as something unreal and illusive. This knowledge takes place in the act of apperception, when we recollect our original identity. The film is depleted of the basic assumption of experience if it does not offer adequate forms of subjectivisation and it is not seen as the game with identification. Subjectivisation is a basic condition of recognition of film work. It is created around the chronological image-concept (main character). It is essential for the perception of film as it extends into the affects and subordinate consciousness and brings sensational colourfulness into the experience of the film's story.
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