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1
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ITALSKÁ NAPÍNAVÁ PODÍVANÁ MEZI ESTETIKOU, ENTUSIASMEM A NOSTALGIÍ

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Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 1
67 – 78
EN
This study focuses on the reflection of popular genres from Italian cinema during the 1960’s to 1980’s in Czechoslovakian film and non-film press during the years 1990 to 2000. The subject for analysis will only be comprehensive and compact texts that deal with concrete popular genres or with the productions of filmmakers that represent various models of a thrilling spectacle. We will mention only one example from Czech and Slovak translations, because this study deals purely with original published Czech and Slovak texts. This study aims to emphasize the themes chosen by Czech and Slovak film publicists, critics, and journalists in relation to popular Italian genres and in what way they developed interpretative thinking and historical, socio-cultural and industrial context of various models of a thrilling spectacle. A part of our study examines the point of view of film journalism in Czechoslovak periodical press, in the sense of a historical document about period thinking on popular genres of Italian cinema, it will also take into account the enthusiastic and nostalgic approach taken by some of the authors that became a parallel line to the aesthetic interpretation of the films. The study will also touch on social, cultural and medial transformations after the year 1989 which led in Czechoslovak film journalism to a greater critical interest in Italian popular genres. The text will be divided into two parts. The first part will deal only with the Italian western that belonged to the most often reflected and analysed categories of spectacular spectacle. The second part will point to other lines of thrilling spectacle in Italian popular cinema and to some filmmakers whose work was repeatedly reflected in film journalism.
2
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ITALSKÝ WESTERN JAKO ZDROJ IKONOGRAFICKÉ, SPEKTAKULÁRNÍ A ŽÁNROVÉ REVITALIZACE. INTERTEXTOVÉ ODKAZY, CITACE A PARAFRÁZE VE WESTERNECH QUENTINA TARANTINA

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Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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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.
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)

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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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VIZUÁLNÍ SLAST A TĚLESNÁ ROZKOŠ JAKO PRVKY NAPÍNAVÉ SPEKTAKULÁRNÍ PODÍVANÉ. MODELY HARDCORE EROTIKY V ITALSKÝCH POPULÁRNÍCH ŽÁNRECH SEDMDESÁTÝCH A OSMDESÁTÝCH LET

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Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 4
310 – 321
EN
This study deals with hard core erotica in popular genres of Italian cinema in the period of the 70’s and 80’s. Pointing to the example of various movies on the difficult application of the term pornography in Italian cinema and leans toward the concept of hard core erotica that accurately defines the measure of intensity in the imaging of sex. The text simultaneously examines connections between soft and hard erotica in Italian popular genres, in the context of explicit forms of erotica that present questionable borders between soft and hard elements in the thrilling spectacle. The study perceives the problematics as a socio-cultural phenomenon which has gradually developed from the filming of hard core scenes for movies designed for common cinemas, directly to production of purely hard core erotic movies for the adult audience. Part of the analysis is also a view on practices and procedures of foreign distribution companies that ordered special material from Italian filmmakers, with hard core sequences for movies of various popular genres and for soft core erotic movies. Hard scenes for some Italian movies were created from the initiative of distributors directly abroad. The text also presents several examples showing the creation of directors of various popular genres, who began filming hard core erotic movies at the turn of the 70’s and 80’s for special screenings in night cinemas and for video distribution. Some directors – for example Aristide Massaccesi who used the pseudonym Joe D’Amato – served hard core elements to make a special genre style of thrilling spectacle. Massaccesi on the contrary also used various genre levels to create a concept hard core erotica as a new form of imaging of sex on the screen. This text is generally focused on semantic connections between genre structures and hard core erotica.
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