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PREVTELENIE ANIMOVANÉHO FILMU

100%
Šošková E.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 4
331 – 344
EN
Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
2
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ANIMOVANÝ FILM A DETSKÁ MYSEĽ

88%
Krišková L.
Slovenské divadlo (Slovak Theatre)
|
2015
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vol. 63
|
issue 3
269 - 283
EN
The author of this study deals with the reception of animated films by child viewers. She attempts to clarify the process of how animated stories are understood with regard to the cognitive and emotional skills of children of preschool (4–6) and early school age (7–9). She confirms the theoretical propositions of developmental psychology and supplements them with a qualitative testing of selected age groups. This study aims to outline how children think and apply this knowledge in analysing the process of how they watch animated films, children’s most favourite film genre. The results will not only point to the problems of child viewers, but also of films intended for them.
3
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SÚČASNÁ VEREJNÁ PODPORA SLOVENSKEJ KINEMATOGRAFIE A EURÓPSKY CONTEXT

75%
Bosáková Ž.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 3
195 - 207
EN
The Slovak cinematography has to cope with the following conditions: the country’s small unprofitable market, small population size, underdeveloped cinematographic infrastructure and lack of viewership’s affinity to Slovak films. They largely predetermine its development in the coming years. This paper explores institutional conditions in the European and Central European context based on available studies on economic factors and trends in public support in the era of increasing digitalization in order to point to the current challenges of the domestic environment in relation to the systemic stabilization of the realization base of Slovak cinematography and help identify potential phenomena in the domestic audio-visual sphere.
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