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1
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PERCEPTION OF MACHINE AND TECHNO - IMAGINATION

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 2
133-138
EN
AThe study deals with a technical perception of a device (a camera) in whose center is as an end product a technical picture and its analogical codes. We indicate them analogical in that sense, since they can develop an ancient experience of humanity with a mirror. A photography and film substitute properties of the mirror and establish a new relationship between 'mirror' as a supercode and its reporter. They create codes, which record the reporter in the status where 'here and now' (reality) the reporter 'was' (photographic and film picturing). We distinguish two-dimensional flat codes in case of photograph, and three-dimensional flat codes in case of film. We speak first of all about the flat configurations. The influence of techno - perception on our natural perception can be shown on the various manipulation forms, and on the arranging of pre-aparatus reality (for a camera or film camera) for the purpose of its shooting, since only in the status of a technical picture, the reality reaches an intentional meaning, or on the contrary, the omnipresence of technical pictures retroactively determines our behaviour in the natural reality.
2
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'THE CYCLIC TIME' AND A RELATION OF A FILM UNDERGROUND TO A SERBIAN POLITICAL ETHNO - MYTH

100%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 2
191-218
EN
In her analysis of Kusturica's film 'Underground', the authoress is dealing with perception of a Balkan 'spirit', which connects 'naturalism' with spontaneity and authenticity, but also with resistence, enabling to endure endless violance. The symbols of vigorousness and resistance are in 'Underground' understood like moral and ambivalent, and instead of a general Balkan spirit, are derived from the history of the Serbian guerilla rebellion. These are constantly exhausting and at the same time naturalistic labels, however not understood to be ancient in the original meaning of the word. The authoress is documenting that if Kusturica urges on certain traits as the sediments of the particular historical events, he has still not been entirely retreating from Balkanism. His vigorousness, 'boisterousness', 'naturalism' which have been until now mentioned by lots of his foreign and domestic fans, and which are in the film 'Underground' given a free passage, especially in the long scene of a wedding ceremony, are pictured by Kusturica using a demostrative irony. These features are predominantly atributs of the manners making the Balkanians traditionally 'different', for 'Europe' for the way of organizing their entertainment - ritualized in the specific ways of a fun and a relaxation. Emir Kusturica (equally with 'Underground' co-screenwriter Dusan Kovacevic) is not intending just to deny or insecure Balkan premises, but above all to consistently nuance them.
3

MICKEY MOUSE, PSYCHOPATH AND OTHER WORLDS: A REMARK ON ONE SIMILE OF BENJAMIN

100%
Fulka J.
Slovak Review. A Review of World Literature Research
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2007
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vol. 16
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issue 1
65-72
EN
One of the moments that connect S. Freud with W. Benjamin is, apart from the interest in mental and material archeology, the directivity to a volatile moment constituting the 'lyrical' basis of both Freud's scientific rhetoric, and Benjamin's literary fragments and the philosophy of time. An analogy to the temporality in psychoanalysis we can find also in 'The Work of Art in the Age of Technical Reproduction', where, however, elusiveness is connected to another element of psychoanalysis: to the interest in a neglected detail. The apperception of the unperceivable details is, however, better than a theory or techniques of therapy enabled by means of a new kind of art: film, operating on psychotization of consciousness. The archeology of this theme can be realized on the example of Mickey Mouse as a cinematic representative of the modern philosophy of detail; it appears ultimately also in Benjamin's considerations on film, where it is, moreover, caught in a certain historical-utopian perspective. His logic of detail as a logic of the operation of the universe is, at the same time, put into an analogy to Fourier and Blanqui. It can be shown that the phantasmagoric parallel worlds occurring both in the notions of Freud's patients, and in the visions of the utopists in the 19th century, were conceptualized by means of the media by Benjamin.
4
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OBRAZY UMELCOV V TELEVÍZNYCH NARATÍVOCH NEŽNEJ REVOLÚCIE V ROKOCH 1990 – 1993

100%
Dudková J.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 1
73 – 85
EN
The text is a partial result of the thematic analysis of Slovak television production from the early 1990s, which Slovak film studies have not yet fully examined. The author analyses the figure of an artist and/or humanistic intelligentsia in television fiction after November 1989, emphasising especially images of their exclusion in terms of “purity and danger” concepts as well within the context of sceptical narratives of the social change.
5

The Phenomenon of Memory in Film--the Case of the' Mirror' Directed by Andriei Tarkovski

100%
Kozlowski M.
Przegląd Filozoficzny. Nowa Seria
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2004
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vol. 13
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issue 1(49)
181-187
EN
In this movie the plot is constructed by the thoughts of the narrator. They follow two patters. In the first case a current event is shown as connected with past occurrences. The narrator's mother talks with him on the phone and reminiscences about her former boss who recently died. In the second case two events are connected by spatio-temporal contiguity. The narrator's son is asked by an elderly woman to read something to her. While he sets himself about to do it, the woman disappears leaving a hot cup of tea behind. In each case the troubling question is what is real. In the telephone case it is highly improbable that the print house where the mother had worked could actually make the politically incriminating printing mistake. In the tea cup case it is unbelievable that a ghost of a woman would drink a cup of tea. Memory easily confuses fact and fiction, and creates a world that seems partly real and partly unreal.
6
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HETEROTOPIAS IN THE SLOVAK FICTION FILM OF 1990S AS SPACES OF SELF-TRANSFORMATION

100%
Dudková J.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 3
229 – 238
EN
The paper examines heterotopias in three distinct Slovak films as symptoms of disenfranchisement on the part of the film-makers during the transformative period in Slovak cinema. The first part analyses idyllic and heterotopic qualities of space in Martin Šulík’s Záhrada [The Garden, 1995], while the following parts examine heterotopic spaces in debuts by Štefan Semjan Na krásnom modrom Dunaji [On the Beautiful Blue Danube, 1994] and Miroslav Šindelka Vášnivý bozk [Passionate Kiss, 1994]. The paper shows how heterotopic qualities of spaces in these films correspond with self-transformation of the main characters and how the very processes of self-transformation can serve as commentaries on current situation within Slovak film industry.
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FILMOVÝ OBRAZ

100%
Ciel M.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 1
3 – 12
EN
The term image relates to the reference of the film to reality. It is one of the principal areas of the considerations of film theoreticians. The subject of image occurs in the early beginnings of the film theory having been hitherto verified by various speculations. It is about finding the most exact denomination of film in volatile and changing environment and whether is it technological or methodological. History of examination of the image thus replicates history of cinema and allows quite accurate understanding of its perception and the changes of its perception throughout its performance. Many elements of the fundamental characteristics of the image are often repeated by several theoreticians, but there are also many points in which their views differ. Unlike conventional signs, such as words, the film signs in the image do not automatically comprise into chains. They are surrounded by a wide semantic area with the different interpretations in the different cultures and times. How film creates meanings and how and why are we captivated by these meanings – these are the basic questions of a film theory. The film image is a material phenomenon, which objectifies through film ability of reproduction subjective idea of the author´s signs in the image. The chain of communication depends on how the viewer comprehends the meaning. Unlike an abstract art, the film (with the exception of some experiments) must operate with reality. It is important how the film can encode it and make it exceptional. It gives a new or a different view and particularly, sort signs forming the images into the contexts.
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FILM IN OPERA. THE EXAMPLE OF BOHUSLAV MARTINU´S OPERA THREE WISHES (Film v opere. Na priklade opery Bohuslava Martinu Tri priania)

100%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 4
565-570
EN
The paper describes the effect of a new media (film) on the dramaturgy of Martinu's opera Three Wishes and thinks on the potential of film, which puts to use in the staging of Martinu's opera piece. The opera Three Wishes is not only a reaction to the artistic and dramaturgic potential of film, but also a reaction to the new artistic movements. The opera librettist, Georges Ribemont-Dessaignes, was a follower of dadaism and the libretto to this opera has also dadaistic dimension. Martinu and his librettist oppose conventional dramatics. This feature can be found also in his music. In his opera Three Wishes, Martinu refuses the romantic concept of emotionalism and the gradation of dynamism of the latter half of the 19th century. Each of the staging of Three Wishes captures the issue of opera film in a different way. Evald Schorm, director of the world premiere of this opera piece in Brno, in 1971 (forty-two years after the opera was composed), produced a film dimension of the opera along the lines of Chaplin's grotesque. The last staging of Three Wishes by the Czech director Jiri Nekvasil in Volkstheater Rostock, in 2007, was produced as a colourful theatre collage. The opera Three Wishes is a multilayer entertaining musical theatre. Its content is close to classical musical.
9

THE BAD TASTE PSYCHOLOGY (ON SCREEN)

100%
Sulkowski B.
Przegląd Humanistyczny
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2005
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vol. 49
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issue 1(388)
67-80
EN
The paper deals with screen fictional violence (TV and cinema). The analysis focuses on the genres of gangster, war, horror and action films. The interesting point in the paper is the evolution of means of violence visualization, until the postmodernist version without context or interpretation. The psychology of reception and the paradox of receptive pleasures drawn from watching brutal scenes are analyzed in the paper. The author underlines the variety of explanations and sources of this kind of pleasures. However, one must admit that there is more than one universal theory in this field.
10
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COGNITIVE APPROACH TO CHILDREN’S ADAPTATIONS: ACCEPTING PINOCCHIO

100%
Getlík P.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 3
258 - 273
EN
Following the contemporary trend of live-action remakes of classic children’s films, the study offers a cognitive approach to children’s adaptations at the intersection of adaptation studies and the cognitive branch of non-radical constructivism. After a brief theoretical-methodological introduction an interpretation of two film versions of Pinocchio from 2022 is presented. The article will demonstrate how the latest adaptations Pinocchio by Robert Zemeckis and Guillermo del Toro’s Pinocchio by Guillermo del Toro and Mark Gustafson, offer children the opposite direction of experience in the theme of accepting their own identity. This will be evident despite their very similar departure from the traditional paradigm of Pinocchio stories.
11
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„NOVÁ“ SKUTOČNOSŤ A ZNAMENIA PROTI IDEOLÓGII V LITERATÚRE A VO FILME: „TRI DCÉRY“

88%
Petríková M.
World Literature Studies
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2019
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vol. 11
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issue 3
51 – 62
EN
Bednár and Uher’s work from the sixties can be regarded as a testimony about a period conditioned by totalitarian ideology and about a man who is confronted with turning moments in history. He increases his human value “only” by life, by the moral value choice, not by submitting to the norms of the system. That is why the screenplay (1968) and the film Three Daughters (1967) are targeted against totalitarianism. The contemporary communist ideology, which “writes the history” with language as an example of socio-cultural pressure, by its symbols as models for reality, is confronted with character personalities of the thematic historical section they have formed to the extent that they have different attitudes within individual discourses. In the story of Three Daughters the heroine defends her father and she beats “culture of power” only in the perspective.
12

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.
13
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OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. MULTIDISKURZIVNÍ OBRAZ POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 1. ČÁST

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 1
49 – 68
EN
The study examines popular genres in Italian cinema of 1960s and 1970s as a sociocultural phenomenon in the context of cultural background and film industry. The text is structured as interdisciplinary interpretation and explores the theme in the level of textual and inter-textual analysis. It includes wide framework of various aspects related to questions of the subject of study. It examines also Italian genre terminology and titles of some films that belong to popular cycles and series of concrete genres. It demonstrates that interests and intentions of filmmakers, producers, distributors and the audience with regard to film genres are absolutely different. The text is based on methodological approach of interdisciplinary conception of history of Italian cinema that was elaborated by film historian and theorist Gian Piero. The first part of the study is focused on two Italian genres: peplo or storico-mitologico (in the foreign context, the genre is known as peplum or sword and sandals) and western all‘italiana (in popular and academic writing about cinema known also as spaghetti-western).
14
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FILMOVÝ HOROR A JEHO VÝVOJ

88%
Prohászková V.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 3
359 - 378
EN
Horror is a genre which is gaining more and more popularity and spreads into all media and art fields. The oldest, literary horror is the most popular in the United States of America and Japan, where this tradition has the strongest roots and the longest history. In our country, the film production is preferred. The paper focuses on horror in film production. It defines the genre in general, its dominants and typology variations. It describes the historical development of the genre in this particular field and presents the profiles of the most significant representatives of the horror film. In conclusion, it characterizes the recipients and their reasons for seeking the genre.
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THE APOSTLES OF INTERGALACTIC RELIGIOCITY. MOTIF OF SPACE CONTACT IN NEW HOLLYWOOD CINEMA (Apostolowie miedzygwiezdnej religijnosci. Motyw kosmicznego konfliktu w kinie nowej przygody)

88%
Konefal S. J.
Studia Humanistyczne AGH
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2010
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vol. 9
85-96
EN
American science fiction cinema of the 1970s began To employ eclectically presented references to eclectic views on religious topics. Films directed by artists such as Steven Spielberg and George Lucas offered viewers the stories influenced by the Christian and Buddhist symbolism as well as selected theses of the New Age Movements. The authors wanted to create in their productions new religiousness patterns, derived from the writings of some leading figures of the counterculture, such as Herbert Marcuse, Charles Reich, and Theodore Roszak. For this purpose they processed some storylines from science fiction novels and mass culture. This strategy was continued in the 1980s and first half of the 1990s, however the productions from this period showed a radicalization of the educational-ideological context which was associated with the conservative policy of the USA during this period. The end of the 1990s and the first decade of the twenty-first century is a period of erosion the New Age optimism of science fiction cinema. The growing popularity of plots with catastrophic and dystopian visions of the future indicates that religious topic in contemporary cinema fulfills different functions.
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AUTENTICITA A DOKUMENTARIZMUS V SLOVENSKOM VIZUÁLNOM UMENÍ PO ROKU 1990

88%
Filová E.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
396 – 411
EN
The revival of documentary film at the turn of the millennia, caused by the influence of available digital technology and the advent of the young generation, has also been reflected in visual arts - in their need to provide testimonies about private, personal, family, and partner situations or stereotypes (Gabika Binderová, Pavlína Fichta Čierna, Anton Čierny), which sometimes overreach into public, socio-political affairs and phenomena (Ľubomír Ďurček, Peter Rónai, Elena Pätoprstá, Pavlína Fichta Čierna, Ilona Németh, Anna Daučíková, Kristián Németh, Mária Štefančíková, Katarína Karafová). Several authorial strategies, for example, journal entries, reality staging, observational, participation, performative, and reflexive approaches to processing reality, inspired by world trends and by theory, touch upon topical and universal themes – personal and collective memory (recording and erasing), memory places, the political and social body, gender stereotypes, etc. Despite common points of departure, motivations, used means or anti-audience “artsiness”, visual arts and documentary film preserve their own rules of game and specific manners of re/presentation.
17
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OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. OBRAZ NOVÝCH POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 2. ČÁST

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
205 – 218
EN
The study examines popular genres in Italian cinema of 60's – 70's as a sociocultural phenomenon in the context of cultural background and film industry. The text structured as inter-disciplinal interpretation explores the theme in the level of textual and inter-textual analysis and includes wide framework of various aspects related to questions of elected subject of study. The essay examines also Italian genre terminology and titles of some films that belongs into popular cycles and series of concrete genres. The study demonstrates on some examples that interests and intentions of filmmakers, producers, distributors and audience with regard to film genres are absolutely different. The text is based on methodological approach of inter-disciplinal conception of history of Italian cinema that applies Italian film historian and theorist Gian Piero Brunetta in his long series of books and several times revised and completed work.
18

KEĎ JE WESTERN ČUDNÝ. (POSTREHY K JEDNEJ NIE CELKOM TRADIČNEJ ŽÁNROVEJ KATEGÓRII A K TROM NIE TAK ÚPLNE KONVENČNÝM FILMOVÝM WESTERNOM)

88%
Boszorád M.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 6
495 – 503
EN
The goal of the article is to reflect on a selected sample of the films which can be classified as westerns but they put the western mechanisms, conventions, clichés etc. into new unusual contexts. That way the limits of the original genre are exceeded, especially by means of the hybridization moment and the eclectic enhancement, most often by fusion with other genres. The text of the article is dedicated to the fragmentary analytical-interpretative reflection of resource materials which can be given an overall sub-genre or genre-hybrid tag „the weird western“. On the one hand, the concept of the study respects the interpretation of the equivalent English expression „weird western“ as the denomination of the genre combining the western mainly with the supernatural and science fiction elements, on the other hand, it carefully monitors the „weirdness“ as a result of the crossover of the western and genres different from science fiction (horror, musical and comedy etc.).
19
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DOMINIK TATARKA – SCENÁRISTA

88%
Michalovič M.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 2
158 – 171
EN
The study interprets the results of research focused on the specific area of the work of the famous Slovak writer Dominik Tatarka (1913 – 1989). During the years 1948 – 1972, Tatarka devoted himself to a film work. This is evidenced by the preserved film stories, treatments or literary scenarios, as well as documentation on the literary-dramaturgical preparation of individual works (contracts, correspondence and review). The author of the study utilised materials available from the National Archive of the Slovak Film Institute in Bratislava, in conjunction with materials found at Tatarka’s estate in the Literary Archive of the Museum of Czech Literature in Prague. On the basis of the research, it can be stated that only one feature-length film based on Tatark’s scenario was created in the reviewed period: Miraculous Virgin directed by Štefan Uher (1966).
20
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MULTIKULTURALITA AKO FENOMÉN VO FILMOCH S TEMATIKOU HRANICE

88%
Palúch M.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 3
314 – 321
EN
The study focuses on Central European documentary films which directly suggest the concept of multiculturalism as they take place in an environment of mixed and coexisting cultures and subcultures, living in the geographically divided or frontier areas. The perception of intercultural dialogue in the context of the Central European and in Slovak cinema is largely monologic, facing inward, with strict hierarchy of perceptions of cultural clashes. The dominant culture responds to other cultures from the perspective of power and the presence of minority is regarded as schematic and stereotyped. Therefore, transnational solidarity occurs only rarely. This situation can be attributed to the long period of closure of national and cultural boundaries among the Central European nations with their relationships based only on the common ideology and often treated the cultures of the other ideological block as their enemies. After 1989 and after the emergence of new states, there was an increase of the nationalist passions related to the national consciousness in the early years of nation-building, and since joining the European Union, the native Central European cultures have been taking lessons of how to cope with their own minorities, and respond to new cultures of immigrants, or other previously marginalized groups and collective identities.
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