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1

Filmmakers to Themselves? Czech Documentary Cinema After 2000

100%

Česálková L.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 15

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issue 24

41-50

PL

The development of Czech post-socialist documentary cinema was significantly influenced by the process of privatization of Short Film (the former resource base for documentary filmmaking). In the early 1990s, the documentary, as a rather unprofitable area of filmmaking, was not a priority for the rapidly developing field of domestic production. As such, documentary was fully dependent on collaboration with the television industry. This study, however, focuses mainly on the period after the year 2000, and analyses its main trends. Special attention is paid to the establishment of new institutions to support the development and production of film, as well as new marketing and exhibition platforms. Documentary filmmaking in a small post-socialist country is here treated as being embedded in and influenced by a web of inter-relations between filmmakers, Czech Television, the Institute of Documentary Cinema and the Jihlava International Documentary Film Festival. l

2

Vytváření televizních zpráv: pracovní postupy v systému žánrových norem

88%

Kaderka P., Havlík M.

Sociologický časopis. Czech Sociological Review

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2010

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vol. 46

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issue 4

537–567

EN

In this article, the authors examine the production of television news by a public service broadcaster, Czech Television. The aim is to understand the way in which reporters and their colleagues ‘make the news’. Ethnomethodologically informed ethnography is used to analyse cooperation among TV professionals and make visible the everyday, routine, and situated practices with which they perform their tasks. The authors study how practitioners perform their work in consideration of their colleagues’ work, that is, with an awareness of a common aim. They argue that the professional system of relevances of newsmakers is structured by socially established and shared knowledge of the genre specifics of television news reports. The authors describe the genre structure of a standard television news report from a praxeological perspective, and they show how reporters, camera operators, sound technicians, editors, and others mutually collaborate to create a shared understanding of the system of genre norms. The article devotes particular attention to a key component of reporting work: the organisation and filming of interviews with respondents. The analysis demonstrates that interviews with respondents function as an auxiliary television news genre and that the system of relevances in this case is derived from the television news report as a superordinate genre.

3

Redakční kultura a její pracovní podmínky genderovou optikou: případ regionální zpravodajské redakce České televize

75%

Vajbarová D.

Sociologický časopis. Czech Sociological Review

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2017

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vol. 53

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issue 1

51-78

EN

This case study concerns the characteristics of journalistic newsroom culture of a regional news desk of Czech Television, a public-service broadcaster. It seeks to explore the attributes that each of the two news desk editors promote in relation to newsroom culture and whether they are gender specific. The article also discusses whether newsroom culture constructs the same working conditions for male and female journalists. The article draws on theories developed in media and journalism studies and especially the theories and empirical findings of feminist media scholars regarding newsroom culture and the status of male and female journalists in the workplace. It presents an analysis based on qualitative data obtained during four-week participant observation in a regional newsroom of Czech Television, combined with semi-structured individual interviews about the experiences of eight selected male and female staff members working in different positions in the editorial hierarchy. This article presents the very first findings about the gendered characteristics of newsroom culture in the Czech Republic.

4

Who Will Watch the Watchmen? Czech Documentary After 1989 (a Brief Resume)

75%

Bednařík P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 15

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issue 24

51-60

PL

Pavel Bednařík’s paper emphasizes the new era of Czech documentary, focusing on several issues and topics from contemporary Czech docs. Introducing the new era of Czech documentaries since the 1990s, Bednarik’s text depicts the development of its social and political background, including a new upheaval in the auteur documentary approach at FAMU, and leading to inspiration by professor and fi lmmaker Karel Vachek. A case study follows on the successful fi lm alliance between Vít Klusák and Filip Remunda producing the engaged “Czech Journal” for Czech Television within the new production scheme adopted aft er 2013.

5

The EYE – the Look at the Present (of that time): 37 hours of documentary film reflection of new Czech state society

63%

Štoll M.

Národopisná revue (Journal of Ethnology)

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2018

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vol. 28

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issue 3

209 - 221

EN

Between 4th April 1992 and 17th December 1996, Czech Television presented 112 parts of the documentary series called The EYE – a Look at the Present-Day. It was made by the then newly established FEBIO production company owned by Fero Fenič. This project was the first systematic activity after 1989 to map the situation of the transforming Czech society and to catch its ongoing state, using audio-visual means. If each of the part was 20 minutes long, the total series amounted to 2 240 minutes, i.e. more than 37 hours of a pure author´s reflexion of the then social phenomena; it is not only a “bank” including the phenomena themselves, but even possible approaches to them. The study verifies whether and by which means the series reached the level of complexity in the thematic realm, and which dimension the author´s creative approaches and selected processes of expression brought to this unit, which is part of archive materials today. The author researches that part using a new concept of “key situation”, which help define the “form of authorship” that is essential for the impression of the theme.

6

K přízvukování ve zkratkách (na základě dokladů z korpusu DIALOG, z terénního výzkumu v České televizi a z Databáze výslovnostního úzu cizích slov)

51%

Jílková L.

Časopis pro moderní filologii (Journal for Modern Philology)

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2016

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vol. 98

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issue 1

23-44

EN

The article first reviews works on stress placement in initialisms in Czech. It then proceeds to analyze 50 examples of pronunciation of the initialism ODS (Občanská demokratická strana) as represented in the DIALOG corpus; 45 examples of the pronunciation of various initialisms obtained from Czech Television field research in, for instance ÖMV (Österreichische Mineralölverwaltung) and ČTK (Česká tisková kancelář); and 3000 examples of the pronunciation of initialisms from the Database of loanword pronunciation variants, e.g. EU (Evropská unie) and DVD (Digital versatile disc). The analysis focusing primarily on the distribution of stress showed that speakers typically used two stresses — one on the first and one on the last syllable, or only one stress on the first syllable. The latter usage generally prevailed.

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2 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2 Sociologický časopis. Czech Sociological Review

1 Národopisná revue (Journal of Ethnology)

1 Časopis pro moderní filologii (Journal for Modern Philology)

1 Bednařík P.

1 Havlík M.

1 Jílková L.

1 Kaderka P.

1 Vajbarová D.

1 Česálková L.

1 Štoll M.

1 2018

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1 2016