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1
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SLOVAK “INAPPROPRIATE” FILMS AFTER 1989: CENSORSHIP OR BAN?

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 3
297 – 309
EN
This study focuses on forms of censorship that appeared in Slovak authorial documentary film after 1989, with investigative documentary being the most afflicted genre. In the introduction, the author describes institutional forms and mechanisms of state censorship, which was used as an effective ideological tool to supress “inappropriate” information in Slovak film production during the existence of the first Slovak State (1939 – 1945) and in the former Czechoslovakia (1948 – 1989). Residues of such institutional censorship later appeared also in democracy (1989 – 2015), namely in the form of politically or religiously motivated pressure exerted on audio-visual production and its authors by representatives of the ruling (government) parties and their nominees.
2
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„ŽENA S KINOAPARÁTOM“ ALEBO DOKUMENTÁRNY FILM PODĽA ZUZANY PIUSSI

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 3
268 – 284
EN
This paper interprets the work of documentary filmmaker Zuzana Piussi in terms of its clear similarities and differences to the principles of filmmaking employed by Dziga Vertov and the style of cinéma-vérité. Only in this way can one reach a definition of the additional original elements in her approach to directing and her distinctive authorial style. The paper outlines the main characteristics of Piussi’s work, so that it can be reflected upon from the perspective of authorial strategy, and discusses the relationship of Piussi as filmmaker to the protagonists in her films, her involvement in the plot itself, the thematic focus of her work, the use of technology in capturing both image and sound, the editing of the filmed material and the resolution of ethical matters in her authorial approach to the protagonists. Piussi is a filmmaker more concerned with the content of a film than its objectivity or form. She has a talent for finding current, controversial, ethically questionable and politically “unpleasant” themes to base her work on. She works with a small film crew and often at her own expense, so she is not subject to the demands of a film producer. Her independence allows her to critically act as a journalist and thus unmask the ills in our society.
3
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PROBLÉM FORMY A RELATIVIZÁCIA STATUSU DOKUMENTÁRNEHO FILMU V SÚČASNEJ SLOVENSKEJ AUTORSKEJ TVORBE

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
49 – 62
EN
The present study offers a critical reflection of contemporary Slovak authorial production. Focusing on three films, the author analyses the authors’ approaches to representing reality from a formal point of view. The author claims that all of them relativize the status of documentary film, using as a tool of critical analysis Carl Plantiga’s definition of documentary film, included in his concept of “asserted veridical representation”. The films under analysis use three formally different approaches of relating to social reality. One relies on an acted form, the second takes the form of a historicizing essay, and the third promotes the author’s subjective views through a cut collage of motifs stemming from reality.
4
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REPRESENTATIONS OF THE NATION IN SLOVAK CINEMA AFTER 1989

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Dudkova J.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 5
562-575
EN
This text is pointing out the vagueness of the national identity concept in contemporary Slovak cinema as well as the uneasiness arising from the emerging requirements of the EU integration, to set ourselves free from the ominous traumas of 'small nations' and to find ways to other forms of presentations of collective identities. It compares especially the development of subjects of Martin Sulik films with the contemporary situation in Slovak fiction film and gradual preferring of documentary film that is now considered a far more cogent medium to represent national identity (which corresponds with moving from Sulik's former style to the social Czech-and-Slovak drama 'The City of the Sun' (2005).
5
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POSTMODERNÉ, KOGNITÍVNE, INTENCIONÁLNE, INŠTRUMENTÁLNE A SEMIO-PRAGMATICKÉ TEÓRIE DOKUMENTÁRNEHO FILMU

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 4
328 - 337
EN
The author compares and contrasts theoretical approaches which contemporary film theorists and philosophers employ in an effort to capture the essence of non-fiction cinema. He explicates postmodern, cognitive, intentional, instrumental and semio-pragmatic theories of documentary film as we encounter them in the contemporary theoretical reflection, especially in works by Gregory Currie, Noël Carroll, Bill Nichols, David Bordwell, Carl Plantinga, or Roger Odin. Detailed attention is paid especially to three concepts/definitions/approaches to documentary production: Documentary as Indexical Record (Currie), Documentary as Assertion (Carroll) and Asserted Veridical Representation (Plantinga). The study aims to stimulate a discussion of Slovak documentary production that would reflect the current state of thinking about documentary film.
6
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AUTORSKÝ DOKUMENTÁRNY FILM A JEHO VÝVOJOVÉ TENDENCIE V TEORETICKEJ REFLEXII

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 2
129 - 139
EN
This study defines authorial documentary film from the viewpoint of both domestic and foreign film theory. The author notices significant intergeneric differences especially between live action and documentary film. In historical survey he compares basic characteristics and definitions which have appeared in different developmental stages of film studies. Besides theorists, they have been influenced often also by filmmakers. Their development has been significantly affected also by the technical possibilities and restrictions of the time. Critical theory features a division of films according to objectivity (authenticity) and subjectivity (authorship). This division is present in the functional definition of subgroups, which are taken into account in defining documentary film: a relationship of the medium to reality, the analysis of directorial and authorial approaches, formal and stylistic procedures, the specification of genres, dramaturgical and narratological concepts of a work, and the role of a protagonist in a documentary. The authorial documentary film cannot be understood only as the director’s personal contribution to the film, but an important role is also played by collective authorship or the influence of the whole production crew on the recreation of facts stemming from reality.
7
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MARGINÁLNE DEJINY „NEVHODNÝCH“ FILMOV NA SLOVENSKU PO ROKU 1989

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
412 – 421
EN
This study does research into practices aimed at blocking “unsuitable” films from exhibition in contemporary cinematography. There are several examples of authors who have been subjected to pressure whose aim was to prevent particular films from being screened. The post-1989 period has seen the emergence of a new phenomenon in authorial documentary film in Slovakia – personality protection. As a result of its alleged infringement, an author, distributor, or broadcaster can face a lawsuit. This can happen if they do not obtain permission for the material to be released from protagonists, a public institution which has produced it (especially a public television), or an interest group, which can be depicted critically in the film. As a result, censorship did not end in 1989. Based on the subjective wishes of modern censors, imaginary “fig leaves” still cover unsuitable passages, themes, or whole films. The only defence authors can resort to is an intervention into the work as an act of self-censorship or a defence of their authorial intent before court.
8
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ANGAŽOVANOSŤ AUTORA V SOCIÁLNOM DOKUMENTÁRNOM FILME

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 3
221 - 230
EN
The author of this study seeks an answer to the question what “authorial documentary film” is. He selects examples from the area of social-critical documentary film, especially lower forms of documentation – a weekly and a newsreel. In a historical perspective he follows how directors realized authorial engagement in dealing with documentary themes for a socio-critical purpose. The authorial work is then put into contrast with genre conventions which do not allow the presence of authors’ subjective view in documentary films. In the cases when authors purposefully transcend the conventions of documentary genres, viewers are confronted mainly with a subjective interpretation of facts. This line of reasoning about authorial and genre documentary film has been present in Slovak theory since the 1980s and corresponds with current Western approaches to understanding documentary film, which compare current documentary films to feature films in terms of how they construct narratives. In its conclusion the author of this study proposes dividing any film production to genre and authorial production. The reason is that authorial documentary production goes beyond the objective documentary functions of documentary film and is independent of genre conventions. In addition, its subjective interpretation of themes makes it similar to feature film production.
9
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ČESKÉ A SLOVENSKÉ PRIENIKY V DOKUMENTÁRNOM FILME PO ROKU 1993

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 3
195 – 207
EN
The paper focuses on the delineation of national themes as they began to occasionally crop up in Slovak documentary film after the break-up of the Czechoslovak Federative Republic. In its introductory part, it examines the phenomenon of Czech and Slovak infiltrations in feature and documentary films from the point of view of the natural historical development of common Czechoslovak cinematography. In the second part, based on the factual examples of the documentary film production between 1992 and 1999, the paper highlights thematic and content trends, which reflected the quest for independence of both the nations and their cinematography. In the third, final part, it is concluded that after the year 2000, there has been a decline of the interest of Slovak film professionals in the theme of the split of Czechoslovakia into two independent states. In the process of contemplating over national aspects, the increasingly favoured portrayal is that of a multi-ethnic community composed of a variety of identities, which subsequently co-establish common entity, i.e. the nation.
10
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PRVÉ FILMY DOKUMENTARISTOV JARA VOJTEKA, JURAJA LEHOTSKÉHO, PETRA KEREKESA A DANIELY RUSNOKOVEJ

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Palúch M.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 4
421 - 434
EN
The study looks at the more significant from among the early works of prominent Slovak documentary filmmakers Jaro Vojtek, Juraj Lehotský, Peter Kerekes and Daniela Rusnoková which ushered in their later full-length films. The seeds of their directorial methodologies and styles can be traced back into the early days of their filmmaking careers, defining and forming their own and original styles in opposition to the others. All four are graduates of the Academy of Performing Arts in Bratislava and made their first films either as a part of their student assignments in the second half of the 1990s or shortly after the graduation at the turn of the millennium. Nowadays, all four filmmakers are the major representatives of the Slovak documentary cinema.
11
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ČO SI O AUDIOVIZUÁLNOM FONDE A RTVS MYSLIA PRODUCENTI?: ŠTÚDIA POĽA SÚČASNÉHO SLOVENSKÉHO DISTRIBUČNÉHO DOKUMENTU

75%
Vlček M.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 2
191 – 205
EN
This study analyses the field of Slovak documentary films for cinemas based on ten interviews conducted with producers in 2018 and 2019. It offers a classification of producers based on their primary focus and tries to explain the motivations of the directors to produce their own documentaries and the fact that they later give up this aim and shift to the production of the movies directed by their colleagues. The study also includes an analysis of the producers’ attitudes towards the two most influential institutions in the field: the Slovak Audio-visual Fund and the Radio and Television of Slovakia. Finally, the author presents a model of the field and the trajectories of the producers from their entry into the field: gaining and consolidating their position with greater autonomy, taking up positions in institutions that are most relevant for the field, remaining in marginal positions, and choosing less standard tactics.
12

THE PERSON IN THE CONTEMPORARY POLISH DOCUMENTARY FILM (Osoba we wspolczesnym polskim filmie dokumentalnym)

75%
Sosnowska J.
Biuletyn Edukacji Medialnej
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2011
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issue 1
38-46
EN
Article raises a very important problem of person in a documentary. The document touches the film because no fictional characters, movie characters, but specific individuals. The article is presented views on the relationship of documentary director-hero genre and ethical dimension. Before 1989, a man marked the citizen - state representative, who should not much differ from the rest of society. Political changes in Poland have changed the way of looking at man and how filming his fate. There are many films including historical theses, which from the perspective of a single show past or current situation in Poland.
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