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ČLOVEK, KTORÝ VYNACHÁDZA SÁM SEBA: AMERICKOSŤ A OSTROVNOSŤ V DIELACH JONASA MEKASA A BEATRICE GIBSONOVEJ

100%
Nicholas C.
ARS
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2020
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vol. 53
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issue 1
82 – 89
EN
Two artworks concerning exile and New York, world city and archipelago: Walden by Jonas Mekas (1969) with reference to Henri David Thoreau (1854); and A Necessary Music by Beatrice Gibson (2009) according to The Invention of Morel by Adolfo Bioy Casares (1940). Are these artworks a recreation by the separation achieved by the desert island as described and conceptualized by Gilles Deleuze? But here, the desert island is also a new world, the possible space to new human being, to humans who are inventing themselves by the geographical distance from the Ancients, from Europe and Africa: America.
2
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„ŠEDÉ DNI“ A IDENTITA V JAPONSKÝCH DENNÍKOVÝCH FILMOCH

84%
Králiková Hashimoto L.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 2
144 – 156
EN
In the past quarter century, self-documentary films have formed a relatively easily distributable category in Japan. The genre is rooted in the diary films of the seventies, born in Japan under the influence of Jonas Mekas’s Reminiscences of a Journey to Lithuania (1972). This study explores the development of Japanese diary films in the context of research on the genre and looks for an answer to the question why diary films have received such attention from Japanese film makers. The author analyses the cultural and social background of film making with this ambition. Subsequently, she compares the thematic trends in Japanese diary films with Slovak ones, namely with the works of Mišo Suchý. She concludes that, contrary to Slovak diary films which often deal with the issue of national identity, Japanese diary films do not raise such questions.
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