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REPREZENTÁCIE MUŽA A ŽENY V SÚČASNÝCH SLOVENSKÝCH HUDOBNÝCH FILMOCH URČENÝCH PRE DETI

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Urban M., Urban K.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
63 – 81
EN
The present study analyses the social representation of women and men in ten contemporary Slovak musical films aimed at children (Spievankovo, Fíha-tralala, Smejko a Tanculienka). An analysis of the internal and external features attributed to “men”, “women”, “boys”, and “girls” has revealed, in line with previous research, that men are associated with strength and courage and women with beauty and care. Gender also determines clothing, props. Contrary to previous findings, women in the analysed films, more often than men, display activity and dominance and take the role of moral and intellectual authorities. Men, on the other hand, are just as emotional as women. In conclusion, the author proposes a hypothesis to explain these discrepancies with the previous research.
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PROBLÉM FORMY A RELATIVIZÁCIA STATUSU DOKUMENTÁRNEHO FILMU V SÚČASNEJ SLOVENSKEJ AUTORSKEJ TVORBE

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
49 – 62
EN
The present study offers a critical reflection of contemporary Slovak authorial production. Focusing on three films, the author analyses the authors’ approaches to representing reality from a formal point of view. The author claims that all of them relativize the status of documentary film, using as a tool of critical analysis Carl Plantiga’s definition of documentary film, included in his concept of “asserted veridical representation”. The films under analysis use three formally different approaches of relating to social reality. One relies on an acted form, the second takes the form of a historicizing essay, and the third promotes the author’s subjective views through a cut collage of motifs stemming from reality.
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SLOVAK “INAPPROPRIATE” FILMS AFTER 1989: CENSORSHIP OR BAN?

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 3
297 – 309
EN
This study focuses on forms of censorship that appeared in Slovak authorial documentary film after 1989, with investigative documentary being the most afflicted genre. In the introduction, the author describes institutional forms and mechanisms of state censorship, which was used as an effective ideological tool to supress “inappropriate” information in Slovak film production during the existence of the first Slovak State (1939 – 1945) and in the former Czechoslovakia (1948 – 1989). Residues of such institutional censorship later appeared also in democracy (1989 – 2015), namely in the form of politically or religiously motivated pressure exerted on audio-visual production and its authors by representatives of the ruling (government) parties and their nominees.
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SLOVAK FILM AND SUPERMODERNITY (Slovensky film a nadmodernita)

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Dudkova J.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 2
84-101
EN
The study deals with the relationship of contemporary Slovak film to place in terms of reduction of interest in ethnographic location. Employing the terminology of anthropologist Marc Auge, it uses the example of his analysis of non-places as typical signs of super modernity to examine changes in relation to location in Slovak cinematography after 2001. The analysis of the films 'Two Syllables Behind', 'Return of the Storks', 'It Will Stay Between Us' and 'Other Worlds' points to the relationship between the representation of super modern relations (or even directly non-places) and the processes of European integration, accompanied by the crisis of national identity.
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TRI FILMY O NEDÔVERE. NEDÔVERA V SYSTÉMOVÉ PRVKY SPOLOČNOSTI V SLOVENSKEJ KINEMATOGRAFII OBDOBIA KONSOLIDÁCIE

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 4
345 – 360
EN
Using the example of three films – Kandidát (The Candidate, 2013, dir. Jonáš Karásek), Pirko (Little Feather, 2016, dir. Lucia and Petr Klein Svoboda), and Únos (Kidnapping, 2017, dir. Mariana Čengel-Solčanská), the present study deals with distrust in the systemic elements of society in Slovak feature films in the period following the establishment of the Audio-visual Fund (2009). By means of a thematic and stylistic analysis, it points to the similarities between the selected films. It shows their rootedness in the established trends of Slovak cinema as well as their diversion from them, which is mirrored in their dialogical work with the phenomenon of reality, by creating an illusion of anticipation or influencing future action.
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FORM(ULAT)ING MISTRUST IN THE STATE IN 1990S’ SLOVAK LIVE-ACTION FILMS

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 3
302 – 315
EN
The text deals with ways in which Slovak live-action films made in 1990s introduced the topic of mistrust in the state and its institutions. On specific examples, the text demonstrates such mistrust was not primarily a critical attitude, but rather consisted of two basic forms of refection. On one hand, live-action films made for cinema often promoted the post-modern principle of a ‘relative’ truth, presenting a lifestyle with minimal ties to the state, sometimes also formulating mistrust in specific state institutions (the police, state-run artistic institutions, education system) by means of irony. On the other hand, films made for state television frequently drew attention to corruption within state organisations and the fact it was usually being generally accepted as a status that did not need to be analysed. In both cases, the message of 1990s was carried on to the next millennium, and can eventually be interpreted as a way of solidifying the discourse of mistrust that we perceive in contemporary Slovak film for cinemas and television.
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MARGINÁLNE DEJINY „NEVHODNÝCH“ FILMOV NA SLOVENSKU PO ROKU 1989

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
412 – 421
EN
This study does research into practices aimed at blocking “unsuitable” films from exhibition in contemporary cinematography. There are several examples of authors who have been subjected to pressure whose aim was to prevent particular films from being screened. The post-1989 period has seen the emergence of a new phenomenon in authorial documentary film in Slovakia – personality protection. As a result of its alleged infringement, an author, distributor, or broadcaster can face a lawsuit. This can happen if they do not obtain permission for the material to be released from protagonists, a public institution which has produced it (especially a public television), or an interest group, which can be depicted critically in the film. As a result, censorship did not end in 1989. Based on the subjective wishes of modern censors, imaginary “fig leaves” still cover unsuitable passages, themes, or whole films. The only defence authors can resort to is an intervention into the work as an act of self-censorship or a defence of their authorial intent before court.
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SLOVENSKÉ DOKUMENTÁRNE DEBUTY PO ROKU 2012

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 4
395 - 408
EN
The present study analyses authorial approaches and themes brought by the generational change that set in after the most successful generation of documentary makers, the “Generation 90”, switched to producing feature films. The debuting authors Miro Remo, Vladislava Plančíková, Arnold Kojnok, Adam Oľha and Patrik Lančarič draw from the creative heritage of the previous generation and their work is an uninterrupted continuation of the work of those documentary makers. A departure can be seen especially in their focus on portrait documentaries (depicting individuals, groups or themselves), the examination of subjectively perceived historical themes and their inclination towards first-person narration and the revelation of private family stories. The only documentary maker that is different from the rest is Miro Rem, who tries to keep pace with current issues. All the other documentary makers continue re-evaluating history, ‘small’ history in contrast to ‘big’ history, or examining private family stories. Besides sporadic attempts at adding interest to their film language with animated passages, they use a lot of archival audio-visual materials.
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STÁŤ NA OKRAJI SA NEOPLÁCA: ANALÝZA SOCIÁLNEJ SIETE SLOVENSKÉHO FILMU Z ROKOV 2012 – 2019

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Urban M.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 2
206 – 221
EN
In recent years, authorship in Slovak cinema has formed the subject of several qualitative studies. In art films, these identified authorship in the person of the sole director. In commercial films, they attributed it to the whole crew. This study aims to examine these findings from the quantitative perspective of digital humanities, especially social network analysis (SNA). By SNA, this study examined the link between the centrality of (a) entire crews and (b) individual directors and the number of film spectators, reviews by professionals and the lay public, budgets, and the amount of funding received from the Slovak Audio-visual Fund (AVF) in both art films and commercial films. Linear correlations revealed a weak-to-strong link between the centrality of crews and individuals and all the monitored indicators, except for one case: the AVF funding of commercial films was not connected to the centrality of their creators. In all cases, however, the centrality of an individual was a stronger predictor than the centrality of the crew, implying that the central position of individual directors plays an important role in reception, budgeting, film attendance and, in the case of art films, also in public funding.
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FOUNTAIN FOR ZUZANA OR GNAWING THE NATIONAL IDENTITY

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Dudkova J.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
428-453
EN
The authoress in her study deals with the phenomenon of a free cycle of films by Dusan Rapos which were originating gradually from 1985 until 2003. In the first part - a song film 'Fountain for Zuzana', which a year after its presentation in cinemas succeeded to acquire an extraordinary high visit rate given the Slovak conditions - more than a million spectators, representing one fifth of the whole population, the authoress is following director's interest in getting to know the collective identity of the youth living in block of flats. The second part was originating in the period when after a parliamentary agreement Czech and Slovak Federal Republic had been divided into two independent states and according to findings of the authoress of this study 'Fountain for Zuzana II' 'is not choosing an approach of non interest, nor the approach of a celebration of the national identity, but is unwillingly pointing at its possible emptiness'. The third part of the cycle 'Fountain for Zuzana III' was filmed in exotic Africa and gave the authors an opportunity to compare the world of 'white - colonial' culture with local habits and traditions. In the connecting part called Suzanne, the director is focusing at an analysis of drug addicted youngsters. The authoress is stating that Rapos' films could articulate feelings of a relatively wide circle of people, even though the knowledge was in many cases superficial and banal. In this respect she sees a key difference between Rapos' films and their commercial success and spectators' popularity, and work of art of other young Slovak filmers who concentrated on subjects whose reference value is substantially narrower and who are not able to address an undevouted spectator.
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BRATISLAVA V SLOVENSKÝCH FILMOCH PRVEJ DEKÁDY NOVÉHO MILÉNIA

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Dudková J.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 3
325 – 336
EN
The article deals with the way Bratislava was portrayed in Slovak films with urban settings produced in the first decade of the 21st century and shows how these portrayals changed over this period. Methodologically, the article is based on basic heuristics, i.e. on the analysis of the films themselves. The aim of the paper is to provide a general overview rather than an in-depth analysis of individual pieces. The author draws on her previous research in the area, especially on her Slovenský film v ére transkulturality [Slovak film in the era of transculturality; 2011]. By widening the corpus, she tests the relevance of concepts used in film studies at the turn of the millennia (“lifestyle urban film”, “non-places”, “supermodernity”, “postmodernity”) for chosen films. The aim of the paper is to map the portrayals of Bratislava and devise their basic typology, while accentuating the narrative of Slovak cinematography as a series of films reacting to each other, gradually shifting their focus from the historical city centre to the places on the right side of the Danube (e.g. Veľký rešpekt [Big respect], Bratislavafilm) and subsequently to other Slovak regions and towns.
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SLOVAK FILM THE BORDER AND THE PROBLEM OF THE CONSTRUCTION OF COLLECTIVE IDENTITY (Slovensky film Hranica a problem konstruovania kolektivnej identity)

88%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 4
619-628
EN
The text deals with a documentary film The Border directed by Jaroslav Vojtek and carried out in 2009. It itself is conceived as a group portrait of the residents of the village Slemence and raises several questions about constructing collective identities in areas divided by state borders. The village is currently divided between Slovakia and Ukraine. The split occurred in 1946 and is actual remained. Absurdity of the Slemence case is emphasized by many factors. The inhabitants, suddenly divided between two Slavic states, are mostly of Hungarian nationality. Further, the closely guarded border didn't divide two geopolitical blocs, but the Soviet Union and the other socialistic state. Last but not least, the border remains in place today. Although in 2005 it was opened for the use of cyclists and pedestrians, in 2008 it became the border of the Schengen zone. Once again, now at least it is surveyed as closely as it was in 1949. The introduction of visa requirements for Ukrainians - and the Ukraine's reciprocal response - once again makes crossing the border a long process, involving a journey to the nearest district town which often takes several hours. The text analyses all of these facts as well as some specifically filmic means of metaphoric crossing the border.
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O STRIHOVOM FILME NIKDY VIAC Z ROKU 1958 A JEHO VPLYVE NA ĎALŠIE FILMY

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 1
60 - 75
EN
The study explores a specific film form, i.e., compilation film in Slovakia after the Second World War. The author analyses the creation and means of expression of the film Nikdy viac [Never Again] (1958) by director Ctibor Kováč, while taking account of its period propaganda use. Historically, it is the first feature-length compilation film in Slovakia that consciously renounces staging techniques and reenactments, while placing emphasis mainly on the clippings of authentic news footage. These are combined with the reportages from the trials of the members of the Hlinka Guard Emergency Divisions, which took place in April 1958 in Bratislava and in Banská Bystrica in the presence of the general public. By fabricating an image of shame, the representatives of the communist regime, backed by the media, ventured to reckon with the remnants of “clerofascism” that persisted in socialist society from the time of the Slovak Republic in 1939 – 1945. During the cold war, the politically motivated image was intended to demonstrate the determination of the representatives of power to take action against any internal or external enemy of the socialist establishment.
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UMELÉ A UMELECKÉ V POST-ANTROPOCENTRICKEJ TRILÓGII VIERY ČÁKANYOVEJ

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 1
5 – 25
EN
This study deals with three films of one of the most talented and, even in the European context, most interesting contemporary Slovak female directors and screenwriters, Viera Čákanyová (1980), which their creator herself regards as parts of a loose trilogy. These are her feature-length professional debut, FREM (2019), and two other films, Biela na bielej [White on White] (2020) and Poznámky z Eremocénu [Notes from Eremocene] (2022). They combine interlinked topics with a strong international overlap, which is quite unusual in Slovak films: the topic of artificial intelligence, climate change, the threat to human experience, or even the extinction of mankind. The aim of the study is to analyse the pictorial and strategies of Čákanyová’s trilogy while acoustic examining the essence of art, human experience, and life, which Čákanyová perceives in the situation of global climate change as threatened, or as ones in transition into the domain of artificial intelligence, which is becoming increasingly independent. The text is structured chronologically, using the available interviews with the director and other sources which commented on her hybrid, hard-to-grasp, and intentionally dubious films. It also serves as a guide to make sense of Čákanyová’s works, while relying also on the knowledge of her previous, internationally acclaimed student works, and television productions.
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