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Filmmakers to Themselves? Czech Documentary Cinema After 2000

100%
Česálková L.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
41-50
PL
The development of Czech post-socialist documentary cinema was significantly influenced by the process of privatization of Short Film (the former resource base for documentary filmmaking). In the early 1990s, the documentary, as a rather unprofitable area of filmmaking, was not a priority for the rapidly developing field of domestic production. As such, documentary was fully dependent on collaboration with the television industry. This study, however, focuses mainly on the period after the year 2000, and analyses its main trends. Special attention is paid to the establishment of new institutions to support the development and production of film, as well as new marketing and exhibition platforms. Documentary filmmaking in a small post-socialist country is here treated as being embedded in and influenced by a web of inter-relations between filmmakers, Czech Television, the Institute of Documentary Cinema and the Jihlava International Documentary Film Festival. l
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Who Will Watch the Watchmen? Czech Documentary After 1989 (a Brief Resume)

75%
Bednařík P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
51-60
PL
Pavel Bednařík’s paper emphasizes the new era of Czech documentary, focusing on several issues and topics from contemporary Czech docs. Introducing the new era of Czech documentaries since the 1990s, Bednarik’s text depicts the development of its social and political background, including a new upheaval in the auteur documentary approach at FAMU, and leading to inspiration by professor and fi lmmaker Karel Vachek. A case study follows on the successful fi lm alliance between Vít Klusák and Filip Remunda producing the engaged “Czech Journal” for Czech Television within the new production scheme adopted aft er 2013.
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