PředmětyPředměty(verze: 861)
Předmět, akademický rok 2019/2020
  
Central European Cinema - JMM121
Anglický název: Central European Cinema
Zajišťuje: Katedra ruských a východoevropských studií (23-KRVS)
Fakulta: Fakulta sociálních věd
Platnost: od 2019 do 2019
Semestr: oba
Body: 6
E-Kredity: 6
Rozsah, examinace: 0/4 Zk [hodiny/týden]
Počet míst: zimní:neurčen / 10 (0)
letní:neurčen / neurčen (0)
Minimální obsazenost: neomezen
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Poznámka: při zápisu přednost, je-li ve stud. plánu
předmět lze zapsat v ZS i LS
Garant: Mgr. Mircea Dan Duta, Ph.D.
Vyučující: Mgr. Mircea Dan Duta, Ph.D.
Anotace - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)
Central European Cinemas in Social, Political and historical Contexts in Central Europe is an item consisting in lectures, seminaries, film screenings and debates with external guests, that focuses mainly on five former socialist countries, The Czech Republic, Slovakia, Hungary, Poland and Romania. The films to be screened are made during different historical periods in these countries and / or by directors born there. The connection between the destinies of the national cinematographic industries concerned and the historical, social, political and cultural development of the respective nations and states will be examined. It is a complex, diverse and multidimensional connection, also influenced by external factors such as migration, economic development in and outside the region, relations between the states and / or nations concerned with various regional, European and international superpowers, alliances or power centers, respectively cultural, philosophical, artistic or political movements, waves, circles, tendencies, etc.
Cíl předmětu - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

The aim of this course is to acquaint students with Central and Eastern European social, historical, cultural and political reality through this complex and multidimensional connection between the cinematographic industries in the region and politics. And in this region politics meant sometimes dictatorship or authoritarian regimes and subsequent psychological, social and of course political methods of manipulating by culture. That is why the second most important goal of this course is to prove / demonstrate the manipulating power of cinema industry in general and especially of films economically, financially - and therefore also politically - dependent on the political power in Central Europe.

Podmínky zakončení předmětu - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

Course completion requirements reflects Dean´s provisions (https://www.fsv.cuni.cz/opatreni-dekanky-c-172018aj) using assessment A-F (A = 91% and more; B = 81-90%; C = 71-80%; D = 61-70%; E = 51-60%; F = 0-50%).

Main course requirements include active class participation, an in-class presentation and a final paper based on the presentation.

Students are required to consult with the instructor on the topic of their presentation, which shall correspond to one of the thematic areas covered by the movies screened in-class. After the presentation, students are required to turn in their presentation (final paper) as agreed with the instructors in written form. The papers are to be emailed to the respective instructor in a length of approximately three to five pages (including a list of consulted sources).

Attendance and active class participation are required as the course is designed as a seminar. Students are allowed to miss no more than one week. A legitimate explanation must be provided for any further absence. Should a student be unable to deliver his or her scheduled presentation, he or she is required to kindly inform the instructor well in advance so the course schedule could be changed accordingly. Failure to deliver the assigned presentation will result in failure of the course.

Students must pass all assignments in order to pass the course. Papers will be assessed based on the first draft submitted.

There is a zero tolerance in regard to plagiarism. Misconduct will result in failure of the course and further disciplinary action.

Graduating conditions:
-  attendance 10%
-  active participation to seminaries 10%
-  an essay at the end of the semester 80%.

Literatura - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

Cook, David: A History of Narrative Film, New York 1996
Nemeskürty Uštván, Word and image; history of the Hungarian cinema. Budapest: Corvina Press, 1968 (nebo novější vydání Nemeskurty, Istvan, Short History of the Hungarian Cinema, New York 1980)
Ford Charles and Hammond Robert, Polish Film: A Twentieth Century Histor. Jefferson 2005
Gorzo Andrei, 1234 Romanian Directors - A History of the Romanian Cinema Until 2000, Bucharest, Curtea Veche, 2001
Haltof Marek, Polish National Cinema, Berghahn Books, 2002
Hames Peter, Československá Nová vlna. KMa - Praha 2008 (v anglicke variante: Peter Hames, The Czechoslovak New Wave (Berkeley, Los Angeles, London 1985)
Hames Peter, The Cinema of Central Europe - Wallflower Press, 2004 (with a preface by Istvan Szabó)
Petrie, Graham, History Must Answer to Man: The Contemporary Hungarian Cinema , New York, 1981
Škvorecký Josef, All The Bright Young Man and Women: A Personal History of the Czech Cinema (Toronto 1971), česky Všichni ti bystří mladí muži a ženy, Praha 1991
Zsugán Uštván, A Subjective History of the Hungarian Film: 1964-1994. Budapest: Osiris-Századvég, 1994
Žalman Jan, Umlčený film. Praha 2008

Metody výuky - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

Teaching methods: exposition / course, applications / seminaries, film screenings, debates with external guests.

Sylabus - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

An Introduction to the History of the Central European Cinemas

1) a) Reasons for studying the Central European Cinemas; a short remember of the most important moments in the history of Central European Film:
- the first full-length picture in the history ever ("Romanian Independence", Romania, 1912);
- the Soviet Avant-garde;
- the First, the Second and the Third Polish Cinema;
- the Polish "Teatr fakta";
- the Hungarian School;
- the Czech and Slovak New Wawe;
- the Yougoslav Novi Film.

b) The beginnings:
- the experiments of Manakia brothers (Macedonia);
- the experiments of the Romanian army;
- the Hungarian experiments;
- the first years, the first fims;

Screening:
- fragments from "Romanian Independence" (Grigore Brezeanu)
- short Czech films with "Rudy"

2) Czechoslovakia and Czech Republic
- The '30s (Machatý, Rovenský, Vančura, Frič, Haas);
- The Czech Cinema during the German Occupation ("The Protectorate" - 1939-1945);
- The Pre-Communist era (1945-1948)
- The Stalinist era;
- The end of the ´50s and the ´60s; the Czech New Wave
- The "Normalisation" era

Screening: Closely Observed Trains (Jiri Menzel)
Back-up / Reserve): Daisies (Vera Chytilova)

3) Czechoslovakia and Slovak Republic
- Kadar and Klos
- The Slovak contribution to the Czech and Slovak New Wave
- The Slovak cinema during the Normalisation

Screening: The Shop on the Main Street (Ján Kadár and Elmar Klos)
Backup / Reserve: Little Birds, Orphans and Fools (Juraj Jakubisko)

4) a) Czech and Slovak Cinema after 1989
- The Early ´90s and the "political" films
- The Collapse of the Slovak Cinematography
- The Czech "New New Wave" - a Reality or a Speculation?

b) Main themes and motives in the Czech and Slovak cinema and art; the humor, an essential dimension of the Czech and Slovak culture, art and mentality.

Screening: Indian Summer (Sasa Gedeon) or Some Secrets (Alice Nellis)

5) The Romanian Cinema
- The ´30s and the ´40s; "A Stormy Night" (Jean Georgescu) - the best Romanian film nefore 1948
- The Stalinist era;
- The first international recognition of the Romanian film: The Lucky Mill (1957)
- The ´60s and the "´70 Generation"; why didn´t Romanians have a "Romanian New Wave" in the ´60s
- Romanian cinema during Ceausescu

Screening: The Stone Wedding (Dan Pita)


6) a) The Romanian Cinema after the fall of Communsim;

- The '90s; the political and social context of the partial collapse of the Romanian Cinema
- The Romanian Cinema after 2000; finally a "Romanian New Wave?

b) Main motives and themes of the Romanian cinema

Screening: Philantropy or ?432"

7) The Hungarian Cinema
- The ´30s and the ´40s : a commercial cinema (Pal Fejos, Georg Hoellring);
- Hungarian Directors who emmigrated to the USA: Sándor (Alexander) Korda, Mihaly Kertész (Michael Curtiz), Endre Tóth (André de Toth)
- The Stalinist Era; the Hungarian cinema before the Hungarian Revolution (1956); Zoltan Fabri;
- The Hungarian cinema after the Hungarian Revolution and in the ´60s; the Hungarian School
- The ´70s and the ´80s; "Love" by Károly Makk - a very important moment in the history of Hungarian cinema

Screening: Love (Károly Makk) or Professor Hannibal (Zoltán Fábri)

8) a) The Hungarian Cinema after the fall of communism

- The social, historical and political context
- The new generations
- The Hungarian cinema after 2000 - a new powerful metaphoric look (Benedek Flieghauf, Nimród Antall, Ildikó Szabó, Bencze Miklauzic)

b) Main themes and motives in the Hungarian cinema; the social and civil dimension of the Hungarian cinema and art

Projections: The Dealer (Benedek Flieghauf) or Child Murders (Ildikó Szabó)

9) The Polish Cinema

- The Interwar era (Ford, Cekalski, Szolowski, Jakubowska); Jewish films in Polish context: Dybuk (Michal Waszynski, 1937)
- The First, the Second and the Third Polish Cinema
- The partial privatisation of the Polish film production in the '70s and '80s; the indepndent film production
- The Solidarity and the influence of its activity on the polish cinema

Screening: The Sewer (Andrzej Wajda)


10) a) The Polish cinema after the fall of communism
The social, historical and political context
The Polish historical superproductions in the '90s
The new generations (Urbaniak, Kolski, Glinski)

b) Main motives and themes in the Polish cinema; the civic and political dimension of the Polish cinema and art; film and history

Screening: Away from the Window (Jan Jakub Kolski) or Hi, Tereza (Robert Glinski)

Eeventually 11) The Yougoslav cinema

- The '30s - a cinema with a very bad financial situation (Mikhailo-Mika Popovic)
- The Tito era and the "Partisan Westerns"
- The "Novi film" and the "Black Film"
- The "Prague School"
- The interethnic war and its influence on film production
- The Yougoslav cinema after the Yougoslav desintegration

Screenings: A Case of Love/The Switchboard Operator - Dusan Makavejev, or Black Cat, White Cat - Emir Kusturica

12) Actual tendences of the Central-European cinemas
- The actual state of the Hungarian cinema; metaphoric and symbolic dimension of the new Hungarian films
- The Polish historical superproductions; Television films and series; young directors and their "realistic" films
- The Romanian "New Wave" after 2000
- The Ex-Yougoslav Cinemas
- Is it possible to talk about a Czech "Second New Wave"? Why? Why not?
- New Slovak films

 
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