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Paluch M.
Slovenské divadlo (Slovak Theatre)
|
2005
|
vol. 53
|
issue 4
337-343
EN
The last film by the Slovak director Dusan Hanák named 'Paper Heads' (1995) represents a singular and particularly courageous penetration into the historical period marked by the communist totality in former Czechoslovakia. A multinational co-production project depicts the problem of freedom and restriction or compulsion, relation between a national a totalitarian regime. The film was produced for several years and Hanák concentrated on the emotional author's testimony constructed on the basis of an edited document. The final form of the documentary film is composed of declassified archive materials and produced parts, which are overlapping into the post-socialist presence. Hanák is working with the archive material using the principle of its transformation into author's testimony. He is focusing on an audiovisual counterpoint, on a contradicting effect of picture and sound. He is using the principles of a dialectic assembly, when two consequent pictures create a new independent picture. It originates mainly from the contrast between propagandistic archive material and authentic testimony of communist regime victims.
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