40 Czech and Slovak Cinema Theme and Tradition.pdf

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CZECH AND SLOVAK CINEMA

Theme and Tradition

PETER HAMES

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© Peter Hames, 2009

Edinburgh University Press Ltd

22 George Square, Edinburgh

www.euppublishing.com

Typeset in 10/12.5 Adobe Sabon

by Servis Filmsetting Ltd, Stockport, Cheshire, and

printed and bound in Great Britain by

CPI Antony Rowe, Chippenham and Eastbourne

A CIP record for this book is available from the British Library

ISBN 978 0 7486 2081 4 (hardback)

The right of Peter Hames

to be identiﬁ ed as author of this work

has been asserted in accordance with

the Copyright, Designs and Patents Act 1988.

Published with the support of the Edinburgh University Scholarly Publishing

Initiatives Fund.

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CONTENTS

Acknowledgements

vi

Introduction

1

1. History

15

2. Comedy

32

3. Realism

55

4. Politics

75

5. The Holocaust

95

6. Lyricism

112

7. The Absurd

129

8. The Avant-Garde

144

9. Surrealism

168

10. Animation

188

11. Slovak Directions

206

Bibliography

229

Filmography

243

Index

254

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TRADITIONS IN WORLD CINEMA

General editors: Linda Badley and R. Barton Palmer

Founding editor: Steven Jay Schneider

Traditions in World Cinema is a series of textbooks and monographs devoted

to the analysis of currently popular and previously underexamined or under-

valued ﬁ lm movements from around the globe. Also intended for general inter-

est readers, the textbooks in this series offer undergraduate- and graduate-level

ﬁ lm students accessible and comprehensive introductions to diverse traditions

in world cinema. The monographs open up for advanced academic study more

specialised groups of ﬁ lms, including those that require theoretically-oriented

approaches. Both textbooks and monographs provide thorough examinations

of the industrial, cultural, and socio-historical conditions of production and

reception.

The ﬂ agship textbook for the series includes chapters by noted scholars

on traditions of acknowledged importance (the French New Wave, German

Expressionism), recent and emergent traditions (New Iranian, post-Cinema

Novo), and those whose rightful claim to recognition has yet to be established

(the Israeli persecution ﬁ lm, global found footage cinema). Other volumes

concentrate on individual national, regional or global cinema traditions. As the

introductory chapter to each volume makes clear, the ﬁ lms under discussion

form a coherent group on the basis of substantive and relatively transparent, if

not always obvious, commonalities. These commonalities may be formal, sty-

listic or thematic, and the groupings may, although they need not, be popularly

identiﬁ ed as genres, cycles or movements (Japanese horror, Chinese martial

arts cinema, Italian Neorealism). Indeed, in cases in which a group of ﬁ lms is

not already commonly identiﬁ ed as a tradition, one purpose of the volume is

to establish its claim to importance and make it visible (East Central European

Magical Realist cinema, Palestinian cinema).

Textbooks and monographs include:

iv

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TRADITIONS IN WORLD CINEMA

• An introduction that clariﬁ es the rationale for the grouping of ﬁ lms

under examination

• A concise history of the regional, national, or transnational cinema in

question

• A summary of previous published work on the tradition

• Contextual analysis of industrial, cultural and socio-historical condi-

tions of production and reception

• Textual analysis of speciﬁ c and notable ﬁ lms, with clear and judicious

application of relevant ﬁ lm theoretical approaches

• Bibliograph(ies)/ﬁ lmograph(ies)

Monographs may additionally include:

• Discussion of the dynamics of cross-cultural exchange in light of

current research and thinking about cultural imperialism and glo-

balisation, as well as issues of regional/national cinema or political/

aesthetic movements (such as new waves, postmodernism, or identity

politics)

• Interview(s) with key ﬁ lmmakers working within the tradition

v

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