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ITALSKÁ NAPÍNAVÁ PODÍVANÁ MEZI ESTETIKOU, ETIKOU A IDEOLOGIÍ. POPULÁRNÍ ŽÁNRY ITALSKÉ KINEMATOGRAFIE 60. – 70. LET V ČESKOSLOVENSKÉM FILMOVÉM A NEFILMOVÉM PERIODICKÉM TISKU (1960 – 1989)

100%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 4
361 – 372
EN
This study examines journalistic, publicist, and critical discourse in relation to the popular genres in the Italian cinema of the 1960s and 1970s in Czechoslovak film and non-film periodical press. Of interest are mainly comprehensive texts that analyse Italian popular genres as a genre system and a specific corpus of films that belong to the same genre. Czech and Slovak translations of foreign studies and texts (with the exception of some examples), interviews with Italian filmmakers, short glosses, or informative texts are beyond the scope of this research. This study reflects critical, journalistic, and publicist interpretations and views by Czechoslovak press of popular genres in national Italian cinema in the selected historical period. Research is divided into two parts that develop specific aspects of these analytic questions. The first part analyses texts about this subject matter in various film a and non-film periodicals, including newspapers and journals with emphasis on long studies and interpretations of a few categories of popular genres viewed in the extensive context of their national, socio-cultural, iconographic, and industrial aspects. The second part deals only with the popular genre of western all’italiana (western in Italian style), which represented an international cinematic and socio-cultural phenomenon in the 1960s and 1970s and was of the greatest interest to Czechoslovak critics, journalists, and publicists in relation to popular genres of Italian cinema in general.
2
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ENNIO MORRICONE, ITALSKÝ WESTERN A POPULÁRNÍ ŽÁNRY. SKLADATEL V SOCIOKULTURNÍM A PRŮMYSLOVÉM KONTEXTU ITALSKÉ KINEMATOGRAFIE 60. – 70. LET

86%
Švabenický J.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 2
140 - 153
EN
This study examines the creative position and role of the music composer and conductor Ennio Morricone in the socio-cultural and industrial context of Italian film industry in the period of the 1960s and 1970s. Using an interdisciplinary approach to this theme, the text in particular explores the link between popular genres of Italian cinema in this historical period and Morricone’s film music and soundtracks. This study analyses music styles, genres and levels that the composer used in his compositions for popular genres such as western all'italiana (western in the Italian style), spionaggio all'italiana (spy film in the Italian style), guerra all'italiana (war film in the Italian style), giallo all'italiana (detective film in the Italian style) or poliziesco all'italiana (police film in the Italian style). These and also other genre categories of Italian cinema represented new models and variations of popular spectacle that were meant for international distribution. This industrial factor was one of the reasons for the growing global popularity of Morricone’s soundtracks because most Italian popular films produced in this period had a great success with the audience.
3
Content available remote

ITALSKÝ WESTERN JAKO ZDROJ IKONOGRAFICKÉ, SPEKTAKULÁRNÍ A ŽÁNROVÉ REVITALIZACE. INTERTEXTOVÉ ODKAZY, CITACE A PARAFRÁZE VE WESTERNECH QUENTINA TARANTINA

72%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
|
issue 1
51 – 66
EN
This study deals with the intertextual references, citations and paraphrases of Italian popular genre western all'italiana (western in the Italian style) in American westerns by Quentin Tarantino. Main emphasis is placed on thematic, narrative, stylistic and mainly on iconographic, socio-cultural and musical contexts between two Tarantino's movies Django Unchained (2012) and The Hateful Eight (2015) and westerns of some Italian directors that filmmaker reflects in his no-western movies yet. Citation level is analysed on example of general characteristics of Italian western and on example of work by some directors (for example Sergio Corbucci, Sergio Sollima, Giulio Petroni, Tonino Valerii, Duccio Tessari and others), from whose movies Tarantino takes and modifies selected scenes, shots, situations and replicas of characters. The study follows the process of revitalization of genre, iconographic, socio-cultural, spectacular and musical elements in Tarantino's westerns that represent a cinematic tribute to Italian westerns and their directors. The text examines also international phenomenon and cult status of character Django in the context of Corbucci's original movie and movies of other filmmakers. This study explores also archival songs and music themes from Italian westerns used by Tarantino in his movies and his first collaboration with composer Ennio Morricone on original music for his last western. On the basis of this collaboration Tarantino changed stylistic level of using styles, genres and trends of archive music of 60's and 70's. Similarly also Morricone composed for western new and atypical score that is very different from his music for Italian westerns in period of 60's and 70's.
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