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REMARKS ON ARAB SCHOLARSHIP IN THE ARABIC POPULAR SIRA AND THE SIRAT SAYF IBN DI YAZAN

100%
Gazakova Z.
Asian and African Studies
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2005
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vol. 14
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issue 2
187-195
EN
The subject, which is going to be discussed here, represents a brief description of the general direction of 20th century research in the field of Arab popular epic and the Sirat Sayf ibn DI Yazan conducted by Arab scholars and literary critics. Despite the fact that some of the studies which are mentioned in the following pages are out of date, discussing them is still profitable because they offer a complex review of the gradual development of scholarly opinion on the Arabic popular sira, which was marked until recently by many misconceptions and methodological confusion.
2
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POPULÁRNÍ ŽÁNRY ITALSKÉ KINEMATOGRAFIE A ČESKOSLOVENSKÝ SOCIOKULTURNÍ KONTEXT. MODELY ITALSKÝCH KOPRODUKCÍ (NE)REALIZOVANÝCH V ČESKOSLOVENSKU 60. – 70. LET 20. STOLETÍ

100%
Švabenický J.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 3
291 - 305
EN
This study examines Italian co-production films of popular genres produced in Barrandov studios in Prague and Czechoslovak nature exteriors and metropolitan locations. The object of analysis are only Italian versions of three films directed by Alberto Cardone shot in co-production with West Germany, France and Italy, an Italian film of the popular genre giallo all'italiana (detective film in the Italian style) directed by Aldo Lado and unreleased co-production projects between Italy and Czechoslovakia in the period of the 1960s and 1970s. The analysis focuses on the genre, sociocultural, national, geographic, iconographic, industrial, production, co-production and distribution aspects of these films. With the exception of two unreleased films directed by Jiří Sequens, this study is not centred on released and unreleased co-productions in the work of Czechoslovak directors and producers. This text takes an interdisciplinary point of view on popular genres of Italian cinema in the context of Czechoslovak national, geographic and cultural conditions.
3
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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)

88%
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.
4
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SOUNDTRACKY: SOCIOKULTURNÍ FENOMÉN NA POMEZÍ HUDEBNÍHO A FILMOVÉHO PRŮMYSLU. FILMOVÁ HUDBA K POPULÁRNÍM ŽÁNRŮM V ITALSKÉ KINEMATOGRAFII 60. – 70. LET

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 4
409 – 421
EN
This paper analyses and examines film music and soundtracks using the example of selected categories of popular genres of Italian cinema of the 1960s and 1970s. The focus of interpretative interest is the trans-genre, sociocultural and industrial meanings and discourses of Italian film music as an integral part of popular culture at the time when soundtracks gained new importance as Italian popular culture was transforming. The article interprets the new compositional methods of Italian film composers, the cultural and industrial relationship between music labels and film production companies and especially the popular cultural connections of film music with particular popular genres of Italian cinema in the 1960s and 1970s. It also takes into account the 1950s, 1980s and 1990s. There is an emphasis on the categories of popular genres, such as “western all'italiana” (Italian/Spaghetti Westerns), “erotico all'italiana” (Italian erotic films) and “musicarello all'italiana” (Italian musical films), that were part of the main industrial discourse of Italian cinema in the 1960s and 1970s.
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