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EN
The study deals with films made at the beginning of the 1960s by Jan Němec and Dušan Klein, then students at the Film and TV School of the Academy of Performing Arts (FAMU), based on short stories by Arnošt Lustig from the books Démanty noci (Diamonds of the Night) and Ulice ztracených bratří (Street of Lost Brothers) — namely Sousto, Králíček and Ďábelská jízda na koloběžce (Mouthful, Little Guinea Pig and Devilish Ride on a Scooter). These student films represent not only the beginnings of the artistic careers of both directors and a search for the form of their future creative path, but are also a document of the gradual emancipation of artists from the power relations and the search for possibilities of an individual existence within the framework of the totalitarian regime. They attempted to create timeless images of humanity within history, images which have a negative form of fear, anxiety, solitude, pain and loss, but also at the same time the endurance of humanity, which — in accordance with the conception of the writer Arnošt Lustig — is expressed through a specific action and the preservation of hope.
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Returns from Concentration Camps

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PL
The article is concentrated on the Czech post-war literature, especially on the Czech treatment of the theme regarding returns from concentration camps in the novels written in the second half of 20th century and in contemporary literature. The presented novels, thematizing the mentioned topic, are viewed as representations of those days discourses shaped by the “course of history”. Therefore, the article follows variation of the theme as well as the modification of heros in connection with the transformation of discourses, and tries to describe the reasons of the changing.
EN
In our study we have focused on the space of the attic room, which presented the characters not only with a vision of refuge from the outside world, but also a place for dreaming and remembering the times before World War II. Since somebody else´s intervention they have lost their birthplace, background, and sense of security, so little by little they are coming to find and create an existence in a new space, where they usually experienced feelings of anxiety, but also fear of what will happen in the coming days. The mental pain and emptiness are very profound in the attic, which is characterized by a darkness and uninviting appearance. The room or small chamber with a dormer window in Arnost Lustig´s openings becomes a dominant space where the stories take place of characters who reflect on the meaning of their lives. The attic room, or if we want to use the term, dwelling, is a provisional/temporary place in the author´s works, where the characters will not remain forever and will never have the opportunity to settle permanently. This area is mainly inhabited by the characters of Jewish victims whose existence has no meaning, which is reflected in its own way in the room´s furnishing. The room is furnished simply, and we find only the necessities for survival. There is never a lack of a table, chairs and a bed, but we will hardly ever find other props there. The parts of each space involve things which are also involved in the overall nature of the space and thus this object enters the awarness of the characters who will use the things not only for their own needs, but these things also become a means enabling the characters to think back to past times. In accordance with the performed analysis we can conclude that the objects are not mere props that fill the almost empty space, but they are bearers of substance and they also have their own ontological existence.
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