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BEDNÁRIKOVA KAVIAREŇ LÝRA AKO PALIMPSEST, DIALÓG I REKONTEXTUALIZÁCIA DIEL DOBROSLAVA CHROBÁKA

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 1
76 - 90
EN
The study focuses on the textual analysis of Jozef Bednárik’s television film Kaviareň Lýra [Lyra Café] (1992) and on its comparison with the two literary model texts by Dobroslav Chrobák, which the film picks up on and on which it is based. The authoress pinpoints the dialogical relationship between the two text models and their television adaptation, as well as the recontextualisation of the literary source texts in the context of a different time period, while refuting the notions of undue sentimentality attributed to Bednárik’s television adaptation by other authors. The study draws on contemporary theories of adaptation, particularly as a palimpsest (Linda Hutcheon) and a dialogue with the model text, or as a version of a unified work (John Bryant).
2

BRATISLAVA V SLOVENSKÝCH FILMOCH PRVEJ DEKÁDY NOVÉHO MILÉNIA

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Dudková J.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 3
325 – 336
EN
The article deals with the way Bratislava was portrayed in Slovak films with urban settings produced in the first decade of the 21st century and shows how these portrayals changed over this period. Methodologically, the article is based on basic heuristics, i.e. on the analysis of the films themselves. The aim of the paper is to provide a general overview rather than an in-depth analysis of individual pieces. The author draws on her previous research in the area, especially on her Slovenský film v ére transkulturality [Slovak film in the era of transculturality; 2011]. By widening the corpus, she tests the relevance of concepts used in film studies at the turn of the millennia (“lifestyle urban film”, “non-places”, “supermodernity”, “postmodernity”) for chosen films. The aim of the paper is to map the portrayals of Bratislava and devise their basic typology, while accentuating the narrative of Slovak cinematography as a series of films reacting to each other, gradually shifting their focus from the historical city centre to the places on the right side of the Danube (e.g. Veľký rešpekt [Big respect], Bratislavafilm) and subsequently to other Slovak regions and towns.
3
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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.
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MROŻKOVA „ZMLUVA“ A (NE)PRÍTOMNOSŤ OBRAZU STREDNEJ EURÓPY V SLOVENSKÝCH TELEVÍZNYCH ADAPTÁCIÁCH 1990 – 1993

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Dudková J.
World Literature Studies
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2019
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vol. 11
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issue 3
102 – 116
EN
This article analyses the specific case of the Slovak television adaptation of Sławomir Mrożek’s lesser-known stage play The Contract (1986). The play was written before the fall of communism by the famous Polish exile playwright, and was shot for Slovak television in 1992 by the ex-Yugoslav director Goran Marojević. This resulted in multiple shifts in the meanings and visibility of various geopolitical concepts used in the play, including a reduction of references that could render the director’s origin more visible. The paper focuses especially on the replacement of significant references to Balkan and Orientalist discourse (which are parodically overused in the play) with the more readable concept of Central Europe (which stays unnamed in the play). In the final section, the paper also analyses the position of The Contract within the broader context of contemporary Slovak television production, which usually avoided Central European authors or direct images of Central Europe, but on the other hand added indirect references to the concept of Central Europe even to works which originally lacked them. The result in both cases was the frequent usage of allegorical meanings, masking or inversion that followed uncertainties typical for transition from the announcement of Soviet perestroika to (un)expected post-communist condition.
5
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TRI FILMY O NEDÔVERE. NEDÔVERA V SYSTÉMOVÉ PRVKY SPOLOČNOSTI V SLOVENSKEJ KINEMATOGRAFII OBDOBIA KONSOLIDÁCIE

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 4
345 – 360
EN
Using the example of three films – Kandidát (The Candidate, 2013, dir. Jonáš Karásek), Pirko (Little Feather, 2016, dir. Lucia and Petr Klein Svoboda), and Únos (Kidnapping, 2017, dir. Mariana Čengel-Solčanská), the present study deals with distrust in the systemic elements of society in Slovak feature films in the period following the establishment of the Audio-visual Fund (2009). By means of a thematic and stylistic analysis, it points to the similarities between the selected films. It shows their rootedness in the established trends of Slovak cinema as well as their diversion from them, which is mirrored in their dialogical work with the phenomenon of reality, by creating an illusion of anticipation or influencing future action.
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UMELÉ A UMELECKÉ V POST-ANTROPOCENTRICKEJ TRILÓGII VIERY ČÁKANYOVEJ

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 1
5 – 25
EN
This study deals with three films of one of the most talented and, even in the European context, most interesting contemporary Slovak female directors and screenwriters, Viera Čákanyová (1980), which their creator herself regards as parts of a loose trilogy. These are her feature-length professional debut, FREM (2019), and two other films, Biela na bielej [White on White] (2020) and Poznámky z Eremocénu [Notes from Eremocene] (2022). They combine interlinked topics with a strong international overlap, which is quite unusual in Slovak films: the topic of artificial intelligence, climate change, the threat to human experience, or even the extinction of mankind. The aim of the study is to analyse the pictorial and strategies of Čákanyová’s trilogy while acoustic examining the essence of art, human experience, and life, which Čákanyová perceives in the situation of global climate change as threatened, or as ones in transition into the domain of artificial intelligence, which is becoming increasingly independent. The text is structured chronologically, using the available interviews with the director and other sources which commented on her hybrid, hard-to-grasp, and intentionally dubious films. It also serves as a guide to make sense of Čákanyová’s works, while relying also on the knowledge of her previous, internationally acclaimed student works, and television productions.
7
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FORM(ULAT)ING MISTRUST IN THE STATE IN 1990S’ SLOVAK LIVE-ACTION FILMS

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Dudková J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 3
302 – 315
EN
The text deals with ways in which Slovak live-action films made in 1990s introduced the topic of mistrust in the state and its institutions. On specific examples, the text demonstrates such mistrust was not primarily a critical attitude, but rather consisted of two basic forms of refection. On one hand, live-action films made for cinema often promoted the post-modern principle of a ‘relative’ truth, presenting a lifestyle with minimal ties to the state, sometimes also formulating mistrust in specific state institutions (the police, state-run artistic institutions, education system) by means of irony. On the other hand, films made for state television frequently drew attention to corruption within state organisations and the fact it was usually being generally accepted as a status that did not need to be analysed. In both cases, the message of 1990s was carried on to the next millennium, and can eventually be interpreted as a way of solidifying the discourse of mistrust that we perceive in contemporary Slovak film for cinemas and television.
8
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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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