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Wzorzec czeskiej baśni filmowej i jego horrorowe odkształcenie w dwóch filmach Juraja Herza

100%
Pająk P.
Bohemistyka
|
2014
|
vol. 14
|
issue 4
362 - 377
EN
The fairy tale film is a second only to the comedy of manners flagship genre of Czech cinema. Its popularity in Bohemia is associated with a rich tradition of literary fairy tale, as well as with socio-political conditions, favoring the production of such films. There is prevailed a specific pattern of fairy tale - good-natured and comical. Two Juraj Herz's fairy tales from 1978 - Virgin and the beast and The ninth heart - stand on this background. Herz introduces the elements of horror to the fairy tale world and consequently gives both films a meaning which is gently objecting to the pattern of Czech fairy tale film.
2

Deserters, Saints, Tyrants and 'Little Moles': Image of Father in Polish and Czech Post-communist Cinema

100%
Mazierska E.
Kwartalnik Filmowy
|
2007
|
issue 57-58
300-313
EN
The fall of communism had an enormous impact on the situation of men and women in the countries of the former socialist bloc, and on the social perception of the functions of the sexes. Post-communism tends to be associated with promoting and putting in practice of a society in which women and men play traditional gender roles. This tendency is usually identified with the growth of masculinism in Eastern and Central Europe. But the return to tradition had no explicitly positive influence on men. Patriarchalism requires men to take over part of the burden - which under communist ideology - men and women were supposed to share. At the same time, after 1989 men, no less than women, felt the negative effects of economic transformation (unemployment, uncertain employment and economically-motivated emigration). As a consequence, 'post-communist man' finds it difficult to fulfil the traditional roles of the head of the family, husband and father. In addition, some males rejected fatherhood as they claimed it was in conflict with their choice of the lifestyle of the 'single'. The authoress wonders how the image of father in Polish and Czech cinema reflects these changes in the culture and society of the nations. She is also interested in the cinematic re-evaluation of fathers from the past as this is also affected by a modern concept of the family.
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