Thesis (Selection of subject)

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Communism, Emigration, Commercialism: Reading the Post-New Wave Films of Czechoslovak New Wave Directors

Thesis title in Czech:	Komunismus, emigrace, komercionalizace: pohled na československé filmy režisérů tzv. nové vlny
Thesis title in English:	Communism, Emigration, Commercialism: Reading the Post-New Wave Films of Czechoslovak New Wave Directors
Key words:	film, Československá nová vlná, kinematografie, cesti režiséři, emigrace
English key words:	film, Czechoslovak New Wave, filmmaking, Czech directors, emigration
Academic year of topic announcement:	2016/2017
Thesis type:	diploma thesis
Thesis language:	angličtina
Department:	Department of German and Austrian Studies (23-KNRS)
Supervisor:	PhDr. David Emler, Ph.D.
Author:	hidden - assigned by the advisor
Date of registration:	21.11.2017
Date of assignment:	21.11.2017
Date and time of defence:	18.06.2018 11:30
Venue of defence:	Jinonice - U Kříže 8, Praha 5, J2081, 2081, Jinonice - místn. č. 2081
Date of electronic submission:	11.05.2018
Date of proceeded defence:	18.06.2018
Opponents:	Mgr. Tomáš Renner, Ph.D.



URKUND check:

References

Bergan, Robert. “Still Free: An Interview with Ivan Passer.” Film Comment, July 13, 2016. Accessed April 17, 2018. https://www.filmcomment.com/blog/still-free-interview-ivan-passer/.

Bordwell, David. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, Massachusetts: Harvard University Press, 1991.

Braudy, Leo and Marshall Cohen, eds. “The Film Artist” in Film Theory and Criticism, Sixth Edition. New York: Oxford University Press, 2004.

Buchar, Robert. Czech New Wave Filmmakers in Interviews. North Carolina: McFarland & Company, Inc., 2004.

Chytilová, Věra dir. Chytilová Versus Forman: Consciousness of Continuity. Brt 'kunstzaken' and Iblis Films. 1981; Belgium.

----. “I want to work.” Index on Censorship 5, no. 2 (1976): 17–20. DOI: 10.1080/03064227608532516.

Connolly, Kate. “Bohemian Rhapsodist.” Guardian, August 11, 2000. Accessed April 17, 2018. https://www.theguardian.com/film/2000/aug/11/culture.features2.

Forman, Miloš. Interview by Charlie Rose. 1997. The Charlie Rose Show. PBS.

Forman, Miloš and Jan Novák. Turnaround: A Memoir. New York: Villard, 1993.

Forman, Miloš and Richard Porton. "Porn Again: The People vs. Larry Flynt: An Interview with Milos Forman." Cinéaste no. 4 (1997): 28–32. http://www.jstor.org/stable/41688954.

Gery, John. “‘Cutter’s Way’ and the American Way: Heroic Alienations.” Literature/Film Quarterly 16, No. 1 (1988): 58–64. http://www.jstor.org/stable/43796338.

Hames, Peter. Czech and Slovak Cinema: Theme and Tradition. Edinburgh: Edinburgh University Press, 2009.

----. “Czech Cinema: From State Industry to Competition.” Canadian Slavonic Papers 42, no. 1–2 (2000): 63–85. DOI: 10.1080/00085006.2000.11092238.

----. The Czechoslovak New Wave. London: Wallflower Press, 2005.

Horton, Andrew James. “Against Destruction.” Kinoeye 2, no. 8 (2002). http://www.kinoeye.org/02/08/horton08.php.

“Interview with Ivan Passer on ‘Intimni osvetleni’ (Intimate lighting).” YouTube video uploaded by user Anything I like. Accessed April 10, 2018. https://www.youtube.com/embed/fImR0sZQ4Vw.

“Interview with Vera Chytilova.” Europe of Cultures on France 2, February 1, 1994. Accessed February 11, 2018. http://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00213/interview-with-vera-chytilova.html.

Jameson, Richard T. “Passer’s Way.” Film Comment 17, no. 4 (July–August 1981): 18–19, 21. http://www.jstor.org/stable/43452612.

Kennedy, Harlan. “Ragtime: Milos Forman: Obstructing the Road.” American Cinema Papers, 1981. Accessed March 30, 2018. http://www.americancinemapapers.com/files/RAGTIME_1981.htm.

Kuzma, Konstanty. “Interview: Jiří Menzel on his Career.” East European Film Bulletin 30 (2003). https://eefb.org/countries/cssr/jiri-menzel-on-his-career/.

Přádná, Stanislava. “The Czech Cinema After the ‘Velvet Revolution.’” Art Margins, January 30, 2002. Accessed February 18, 2018. http://www.artmargins.com/index.php/film-a-screen-media-sp-629836893/332-the-czech-cinema-after-the-qvelvet-revolutionq-1990-2000.

Schruers, Fred. “Ivan Passer: Making It ‘Cutter’s Way.’” Washington Post, December 13, 1981. Accessed April 20, 2018. https://www.washingtonpost.com/archive/lifestyle/style/1981/12/13/ivan-passer-making-it-cutters-way/a1f98194-1584-4373-8a5c-a1ee96ee311d/?utm_term=.44877518ada8.

Preliminary scope of work

Režiséři Československé nové vlny Jiří Menzel, Věra Chytilová, Miloš Forman a Ivan Passer ukazovali ve svých filmech liberální náladu své doby. Vlivné hnutí skončilo kvůli sovětské invazi v roce 1968, avšak čtyři režiséři pokračovali ve své kariéře, bud’ překonáváním zákazů nebo emigrací do Ameriky. Cílem této práce je interpretace jejich filmů coby demonstrací společenských interakcí od sedmdesátých let 20. století do roku 2006. Unikátní metodologie zahrnuje systematický průzkum filmů, nalezení klíčových tropů a témat a posléze analýzu rozhovorů z médií a biografických textů. Analytická část zkoumá tři hlavní témata: kult automobilů, peníze jako známku moci a cenzuru. Výsledky jsou prezentovány pro každého režiséra zvlášť, společně s kontexty z Československa, případně z USA. Výzkum naznačuje, že pro Jiřího Menzela a Miloše Formana byla klíčovým pojmem kultura v Čechách, respektive v Americe, zatímco Věra Chytilová a Ivan Passer se ve své filmové kariéře věnovali zejména společenské kritice. Tato diplomová práce doufá, že může svým inovativním přístupem přinést nové pochopení filmů od českých režisérů nové vlny.

Preliminary scope of work in English

The Czechoslovak New Wave film movement saw directors such as Jiří Menzel, Věra Chytilová, Miloš Forman and Ivan Passer capture the liberalized mood of the 1960s. After the momentous cultural era ended in the aftermath of the 1968 Warsaw Pact invasion, all four figures continued their directorial careers, albeit either by overcoming bans or emigrating to the United States. This thesis aims to put forth a unique methodology of examining how these four auteurs’ filmic outputs demonstrated their interactions with social environments from the 1970s to 2006. The research process included systematically surveying films for cues and corroborating observations with interview media or memoir texts. The analytical structure focuses on three significant tropes: car culture, money as power and censorship. Descriptions include particular findings pertaining to all four directors as well as synthesis for the contexts of both locations. The research suggests that Jiří Menzel and Miloš Forman exhibited the most reverence towards Czech and American culture, respectively, while Věra Chytilová and Ivan Passer demonstrated a number of similar societal criticisms throughout their filmographies. This thesis hopes to serve as a model for understanding post-New Wave films by Czech directors that applies innovative angles for examining their works.