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REPRESENTATIONS OF THE NATION IN SLOVAK CINEMA AFTER 1989

100%
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).
2
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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.
3
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PRVNÍ SLOVENSKÝ HOROR? PROCES ZŽÁNROVĚNÍ V NÁRODNÍ KINEMATOGRAFII

88%
Slovák M.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 2
173 – 190
EN
This study deals with the genrification process on the example of the Slovak feature horror films of the last two decades. The text is based on the semantic-syntactic- -pragmatic approach of the genre theorist Rick Altman. The article thus differs from the previous studies about Slovak genre creations because these focused on the pre-revolutionary period and the creators associated with it (Juraj Herz, Jan Švankmajer), neglected aesthetic analysis in favour of a pragmatic one, and paid attention only to academically recognized genres (social and historical drama). This study analyses the non-textual level (promotion, reception) and the texts (semantic genre elements, syntax) of six selected works – Nič nekrváca večne (Nothing Bleeds Forever), Socialistický Zombi Mord (Socialist Zombie Massacre), Spiknutie (The Conspiracy), Zlo (Evil), Attonitas, Trhlina (The Rift). The analyses show that, through a phase of peculiar adjectives, and despite its hybridization, horror has become a well-established category, recognized by various groups of people. Despite its solid position, however, it remains a marginal genre due to its production, distribution, and aesthetic exclusivity.
4
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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.
5
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PERZEKÚCIA ŽIDOVSKÉHO OBYVATEĽSTVA A HOLOKAUST V POVOJNOVEJ SLOVENSKEJ KINEMATOGRAFII

75%
Timko Š.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 2
128 - 143
EN
The aim of this study is to map the evolution of Slovak films dealing with the subject of the Holocaust and the persecution of the Jewish minority in the twentieth century. Although it zooms in on a wide range of relevant narrative (and, marginally, also documentary) films, its main focus is on the analysis of narrative films by Slovak film makers whose central theme is the Holocaust − Námestie svätej Alžbety (The Square of Saint Elizabeth, 1965), Obchod na korze (The Shop on Main Street, 1965), Nedodržaný sľub (Broken Promise, 2009), and Správa (The Auschwitz Report, 2020). It tries to find the sources of inspiration for these films, examines the diversions of their final adaptation from their literary bases, and ponders their place in Slovak and global cinema. It also addresses the reasons why films with this subject were absent in certain periods of post-war Slovak history.
6
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„ŠEDÉ DNI“ A IDENTITA V JAPONSKÝCH DENNÍKOVÝCH FILMOCH

63%
Králiková Hashimoto L.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 2
144 – 156
EN
In the past quarter century, self-documentary films have formed a relatively easily distributable category in Japan. The genre is rooted in the diary films of the seventies, born in Japan under the influence of Jonas Mekas’s Reminiscences of a Journey to Lithuania (1972). This study explores the development of Japanese diary films in the context of research on the genre and looks for an answer to the question why diary films have received such attention from Japanese film makers. The author analyses the cultural and social background of film making with this ambition. Subsequently, she compares the thematic trends in Japanese diary films with Slovak ones, namely with the works of Mišo Suchý. She concludes that, contrary to Slovak diary films which often deal with the issue of national identity, Japanese diary films do not raise such questions.
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