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PRÓZA „TMA NEMÁ STÍN“ A FILM „DÉMANTY NOCI

100%
Holý J., Sladovníková Š.
World Literature Studies
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2019
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vol. 11
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issue 3
17 – 27
EN
The article deals with several versions of the short story “Darkness Casts no Shadow” by Arnošt Lustig and the film adaptation of this work, “Diamonds of the Night”, directed by Jan Němec. Lustig has gradually expanded his story in new versions. The author, who lived in the U.S. in the 1970s and 1980s, obviously rewrote his text with regard to American readers. Jan Němec’s film adaptation, which premiered in 1964, is an experimental film that revaluates cinematic conventions. On the one hand, it uses surreal elements, on the other hand authentic devices.
2
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„VEĽKÝ ZOŠIT“ AGOTY KRISTOFA A JEHO FILMOVÁ ADAPTÁCIA: SVEDECTVO O (NE)DOBROVOĽNEJ ANESTÉZII

100%
Andričíková M., Getlík P.
World Literature Studies
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2019
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vol. 11
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issue 3
89 – 101
EN
This study analyses the famous novel The Notebook (Le Grand Cahier, 1986) by the Hungarian-Swiss Francophone novelist Ágota Kristóf (1935–2011) and its film adaptation The Notebook (A nagy füzet, 2013) directed by Hungarian film director János Szász, as the allegory of “Big History”, as the recording of human tragedy (or the tragedy of human destructiveness and lust for power) and also the tragedy of the individual. We also focus on special narrative techniques (1st person plural narrator, narrative voice as homo duplex), which are especially significant in relation to brutal scenes of violence, sexual deviations, moral violations, and its film transformation.
3

“JUSTE LA FIN DU MONDE”: UN CASO STUDIO DI TRADUZIONE INTERSEMIOTICA

100%
Bivona A.
Motus in verbo: časopis mladej vedeckej generácie
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2019
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vol. 8
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issue 1
76 – 87
EN
This work aims to look at certain aspects involved in the translation process, from a linguistic as well as an intercultural and inter-semiotic point of view. Starting from the inter-semiotic translation concept theorized by Roman Jakobson, we will analyse the film adaptation of a pièce, written in 1990 by Jean-Luc Lagarce and filmed in 2016 by Xavier Dolan, in order to highlight the process of re-semantization and multiplication of meaning involved in the transition from the page to the screen. After some theoretical information, through a semiotic analysis and a continuous comparison between written and visual text, we will try to highlight some of the film adaptation’s mechanisms with a particular focus on thematic and figurative isotopies and on the filmmaker’s plastic and stylistic choices.
4

Odpowiedni dać rzeczy obraz. Rozważania o filmach Ichikawy Kona

88%
Kowalczyk B.
Przegląd Orientalistyczny
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2011
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issue 1-2 (236-237)
64-76
EN
Ichikawa Kon (1915-2008), one of the most important and prolific Japanese directors, made almost eighty films during the seventy years of his career. His accomplishment is considered to be particularly difficult to judge due to its astounding variety of genres, themes, styles and tone - simultaneously sardonic, pathetic, cruel, sentimental, tragic and comic. However, regardless of the story that Ichikawa was depicting through all the images he created - starting from animations, through literary adaptations, postwar humanist movies and sentimental comedies, experimental films to documentaries – he never stopped thinking in terms of contemporary society and the problems it faces. Tracing the vicissitudes of Japanese postwar social history on the screen becomes an unforgettable adventure. This essay tries to investigate Ichikawa's oeuvre in the overall perspective by presenting some of his most widely acknowledged and recognised films as well as by introducing to the broad range of problems they invite.
5
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MOC TOTALITNÍ, ALE NE TOTÁLNÍ? ÚVAHY O ROMÁNU „ŽERT“ MILANA KUNDERY A JEHO FILMOVÉ ADAPTACI

88%
Janiec-nyitrai A.
World Literature Studies
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2019
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vol. 11
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issue 3
42 – 50
EN
The aim of the piece is to characterize the ways in which the novel The Joke (1967) by Milan Kundera and its film adaptation (directed by Jaromil Jireš, 1968) show the relationship between man and totalitarian power. The study depicts the means by which the communist society used mechanisms of re-education of the individual. The key concepts applied for this analysis are homo sovieticus (Józef Tischner) and total institution (Erving Goffman). The goal of the study is to broaden the understanding of totalitarianism from a narrow political concept to philosophical and sociological meaning.
6
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DURYCHOVA NOVELA „BOŽÍ DUHA“ VO FILMOVOM SPRACOVANÍ

75%
Gallik J., Vargová Z.
World Literature Studies
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2019
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vol. 11
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issue 3
28 – 41
EN
The displacement of Germans from Czechoslovakia after the end of World War II is a tragic event that greatly affected many people’s lives. The treatment of this subject in Czech literature took various forms, ranging from the schematically modelled literature of socialist realism, which mainly perceived the displacement of Germans as an act of righteous retaliation for the horrors of war caused by German fascists, to existentially tuned works that perceived this event on the basis of the deeper causes of misunderstanding and hostility of both nations. As the philosopher Jan Patočka states in the epilogue (1991) to Jaroslav Durych’s novel God’s Rainbow, the author who created a great song of regret which conditioned and prepared hope for the spiritual reconciliation of the Czech and German nation was finally found. The merit of the comparison of Durych’s novel and its television adaptation from 2007 (by director and screenwriter Jiří Svoboda) is mainly the question whether the adaptation puts only the tragic nature of the theme of the displacement of Germans from the Czech border at the forefront or if it tries to display also the difficult platform of the Baroque phenomenon (e. g. focusing on space or characters). In Durych’s work, including God’s Rainbow, specifically in the language, composition, stylistic construction, motifs, symbols or function of detail, there is an evidence of enhancing the Baroque perception of reality.
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