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  1. 2 Slovenské divadlo (Slovak Theatre)

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  1. 2 Palúch M.

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  1. 1 2022

  2. 1 2020

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KOMPILAČNÝ FILM A JEHO KONCEPT – PRÍPADOVÉ ŠTÚDIE

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2020
|
vol. 68
|
issue 4
384 – 396
EN
Using the example of three films spanning different historical periods, the study provides an analysis of the creative potential of a compilation film. In its first part, the study contemplates the juxtaposition of current events within the concept of a critical compilation film by Henri Storck Histoire du soldat inconnu [Príbeh neznámeho vojaka, 1932], while in the second part, the study scrutinises an avant-garde approach to the juxtaposition of archival materials employing the found footage concept of A Movie (1958), film by Bruce Conner. In its third part, the study provides an analysis of the juxtaposition of acted scenes as a principle of a successive narrative within the concept of the film Final Cut: Hölgyeim és uraim [Dámy a páni, finálna verzia, 201] by György Pálfi.
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O STRIHOVOM FILME NIKDY VIAC Z ROKU 1958 A JEHO VPLYVE NA ĎALŠIE FILMY

88%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
issue 1
60 - 75
EN
The study explores a specific film form, i.e., compilation film in Slovakia after the Second World War. The author analyses the creation and means of expression of the film Nikdy viac [Never Again] (1958) by director Ctibor Kováč, while taking account of its period propaganda use. Historically, it is the first feature-length compilation film in Slovakia that consciously renounces staging techniques and reenactments, while placing emphasis mainly on the clippings of authentic news footage. These are combined with the reportages from the trials of the members of the Hlinka Guard Emergency Divisions, which took place in April 1958 in Bratislava and in Banská Bystrica in the presence of the general public. By fabricating an image of shame, the representatives of the communist regime, backed by the media, ventured to reckon with the remnants of “clerofascism” that persisted in socialist society from the time of the Slovak Republic in 1939 – 1945. During the cold war, the politically motivated image was intended to demonstrate the determination of the representatives of power to take action against any internal or external enemy of the socialist establishment.
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