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WOULD YOU LIKE TO KNOW MORE? DYSTÓPIA V MAINSTREAME POPULÁRNEJ KULTÚRY

100%
Malíček J.
Slovenské divadlo (Slovak Theatre)
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2025
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vol. 73
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issue 2
101 – 112
EN
This study explores representations of utopias and dystopias in popular culture, in mainstream and genre literature, and in cinema (films and serials). Through partial interpretations of selected literary, cinematic, and televisual dystopias, it examines their philosophical background and the central thesis that the fundamental semantic and expressive distinction between utopia and dystopia does not lie in the structural indicators explicitly present in the work. Rather, it resides in the recipients’ attitudes shaped by their worldview, beliefs, and moral codes, which in turn determine their ethical principles.
2

OD LITERATÚRY K DIGITÁLNYM HRÁM, OD ČÍTANIA PRÍBEHOV K ICH HRANIU

63%
Boszorád M., Malíček J.
Slovenská literatúra (Slovak Literature)
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2020
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vol. 67
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issue 6
584 – 583
EN
The main ambition of the paper is a reflection on the relation between literature and digitality, or verification of the potential of research into literature seen in the context of the (post)digital civilizational and cultural situation, which decisively influences the way literature as such exists, or the way it circulates and resonates in culture. The subject of the interest is digitalized literature, i.e. converted into numbers, in a narrow or specific sense, new-medium literature. The authors use the example of Andrzej Sapkowsky´s fiction and its video game post-texts produced by the developer CD Projekt Red to find out what happens to literature converted into the form of a digital game. The leitmotif of the reflection is the binary opposition of the iconic (defining literature) and the operative (defining digital games) as well as the very literary scientific and fundamental issues such as the issue of a story and its relation to narration. In terms of the concept and the method, the key question is the question of the genre, i.e. fantasy, where the authors reflect on the specific form of digital literature from the perspective of pop culture, i.e. the optics which makes it possible to view the matters not through the prism of literary types but through the prism of genres.
3
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THEATRICALITY OF FILM LANGUAGE IN BAZ LUHRMANN’S FILMS

63%
Malíčková M., Malíček J.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 3
209 – 228
EN
The aim of the study is to identify such strategies that reveal the theatrical quality of film language in the movies of Australian director, screen writer, and producer Baz Luhrmann, and to examine how they reflect the development of his poetics as an auteur. Theatricality defines his first three film projects Strictly Ballroom (1992), Romeo + Juliet (1996) and Moulin Rouge! (2001), therefore they are together referred to as the so called Red Curtain Trilogy. The explication of ties to theatre that characterizes Luhrmann’s oeuvre reveals the connection between various types of stage, and staging, as well as the specific qualities and development of Luhrmann’s directorial style, and his understanding of film, and its language. Luhrmann’s film image is a complex in the semiotic reading, each detail has an aesthetic, and semantic value often due to the disposition of film language. Luhrmann’s artworks remain in a number of cases saturated by his performative vision of the world. The degree and specific quality of film language such as ostension (manifested as illusionism, meticulously arranged mise-en-scène, and aestheticized sets, and costumes or pompous carnivalesque musical and dancing show), camp, and citations are closely examined in feature films such as Australia (2008) and The Great Gatsby (2013), in the series of short staged interviews between two icons of fashion world Schiaparelli and Prada: Impossible Conversations (2012) and in the TV series The Get Down (2016 – 2017). These cultural products also confirm their connection to theatre and their author’s interest in various stage forms reflecting on culture based on a play principle.
4
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MEDZI IDEOLÓGIOU, ŽÁNROM A SPOLOČENSKOU OBJEDNÁVKOU – FILMOVÉ ADAPTÁCIE POPKULTÚRNYCH PREDLÔH V ČESKOSLOVENSKEJ KINEMATOGRAFII PRECHODU

63%
Malíček J., Malíčková M.
World Literature Studies
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2019
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vol. 11
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issue 3
117 – 130
EN
The text attempts to identify specific methods used in film adaptations of literary works by Slovak and Czech authors that represent genres of popular culture in the so-called cinematography of transition, defined by historical milestones which reflect various social, cultural and political changes. The normalization process in Czechoslovakia “softened” after 1985 and Czechoslovak cinematography became more open and free, although it still remained controlled by censorship which was not institutionally based. The sci-fi films for children and young adults, such as The Third Dragon (1985), directed by Peter Hledík, and the television film Gemini (1991), directed by Pavol Gejdoš, Jr., are pars pro toto examples of films which were not heavily loaded with ideology. The blood-spattered comedy The Flames of Royal Love (1990), directed by Jan Němec, typifies the period of social change after the fall of the Iron Curtain in 1989 and the bizarre film Horror Story (1993), directed by Jaroslav Brabec, indicates the end of the cinematography of transition.
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