Pub Date : 2021-02-22DOI: 10.1080/2040350X.2021.1889771
M. Kos
Abstract This article examines the Czech screenwriting practice vis-à-vis state-subsidised cinema. It focuses on the silent national epic drama St. Wenceslas (Svatý Václav, 1930) and sheds light on the forms of bureaucratic interventions throughout the formalised writing process. Drawing on Ian W. Macdonald’s concepts of screen idea and screen idea work group, the paper seeks to explain a collective dynamic and deals with the official historiography issue. I argue that academics had frequently altered the screen idea to suit their historical interpretation. Since this was enabled by their prominence in the collective, the article examines the hierarchy of power in the decision-making process and the forms of collaboration, competition and negotiation. In so doing, it helps us to rethink the screenwriting practice by explaining the functions of the screenwriting contest jury and the impact of supervisory voices delineating textual boundaries. The outlined screenwriters’ solutions then illustrate both the creativity in telling the well-known story within the limits and the pragmatic decrease in artistic ambitions.
{"title":"Too many hands: a bureaucratic screenwriting for the Czech silent national epic Svatý Václav (St. Wenceslas) (1930)","authors":"M. Kos","doi":"10.1080/2040350X.2021.1889771","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1889771","url":null,"abstract":"Abstract This article examines the Czech screenwriting practice vis-à-vis state-subsidised cinema. It focuses on the silent national epic drama St. Wenceslas (Svatý Václav, 1930) and sheds light on the forms of bureaucratic interventions throughout the formalised writing process. Drawing on Ian W. Macdonald’s concepts of screen idea and screen idea work group, the paper seeks to explain a collective dynamic and deals with the official historiography issue. I argue that academics had frequently altered the screen idea to suit their historical interpretation. Since this was enabled by their prominence in the collective, the article examines the hierarchy of power in the decision-making process and the forms of collaboration, competition and negotiation. In so doing, it helps us to rethink the screenwriting practice by explaining the functions of the screenwriting contest jury and the impact of supervisory voices delineating textual boundaries. The outlined screenwriters’ solutions then illustrate both the creativity in telling the well-known story within the limits and the pragmatic decrease in artistic ambitions.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"10 1","pages":"121 - 135"},"PeriodicalIF":0.0,"publicationDate":"2021-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82990712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-18DOI: 10.1080/2040350X.2021.1892368
Jonathan L. Owen
{"title":"The rebellion of things","authors":"Jonathan L. Owen","doi":"10.1080/2040350X.2021.1892368","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1892368","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"135 3 1","pages":"189 - 191"},"PeriodicalIF":0.0,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73340270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-04DOI: 10.1080/2040350X.2021.1877077
Patrik Tamás Mravik
Abstract Why Are Hungarian Films Bad? This oft-quoted question was the title of a film, released in 1964, thematizing the unsolved and confused conditions in Hungarian cinema. This study analyzes the discourse which tried to interpret this creative crisis, as well as attempts to rethink and reorganize the practices of screenwriting after 1956. I will then enumerate the main ideological, censorial and personal issues of the centralized development of screenwriting inherited from the Stalinist era. I consider Why Are Hungarian Films Bad? a contribution to the discourse. After analyzing the debate on the reformation of screenwriting, I will show how theories emerging in the late 1950s and early 1960s created a new frame for the screenwriting practice of the subsequent decades.
{"title":"The boundaries of creativity – attempts at reinventing the screenplay and the figure of the screenwriter in the Hungarian cinema after 19561","authors":"Patrik Tamás Mravik","doi":"10.1080/2040350X.2021.1877077","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1877077","url":null,"abstract":"Abstract Why Are Hungarian Films Bad? This oft-quoted question was the title of a film, released in 1964, thematizing the unsolved and confused conditions in Hungarian cinema. This study analyzes the discourse which tried to interpret this creative crisis, as well as attempts to rethink and reorganize the practices of screenwriting after 1956. I will then enumerate the main ideological, censorial and personal issues of the centralized development of screenwriting inherited from the Stalinist era. I consider Why Are Hungarian Films Bad? a contribution to the discourse. After analyzing the debate on the reformation of screenwriting, I will show how theories emerging in the late 1950s and early 1960s created a new frame for the screenwriting practice of the subsequent decades.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"2 1","pages":"136 - 152"},"PeriodicalIF":0.0,"publicationDate":"2021-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87622634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-02DOI: 10.1080/2040350X.2021.1882829
Isabel Jacobs
{"title":"Communist visions, spectacles and after-images","authors":"Isabel Jacobs","doi":"10.1080/2040350X.2021.1882829","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1882829","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"12 1","pages":"185 - 188"},"PeriodicalIF":0.0,"publicationDate":"2021-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85707758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-29DOI: 10.1080/2040350X.2020.1870304
Teréz Vincze
A timely book, one must say, what could be more relevant today than writing about a crisis. Gyorgy Kalmar was finishing his manuscript of Post-Crisis European Cinema while the Coronavirus pandemic ...
{"title":"We need to talk about the proper way of thinking","authors":"Teréz Vincze","doi":"10.1080/2040350X.2020.1870304","DOIUrl":"https://doi.org/10.1080/2040350X.2020.1870304","url":null,"abstract":"A timely book, one must say, what could be more relevant today than writing about a crisis. Gyorgy Kalmar was finishing his manuscript of Post-Crisis European Cinema while the Coronavirus pandemic ...","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"10 1","pages":"182 - 184"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74621527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.1080/2040350X.2020.1861753
Yago Paris
Abstract The present paper analyzes Nebojša Slijepčević’s documentary Srbenka from a political and cultural perspective, from the point of view of political taboo and cultural trauma. By tackling the murder of the Zec family during the Croatian War of Independence, the film reflects on the situation of the Serbian national minority and the conflictive situation it has to confront due to the national narratives that the Croatian state has developed, which are a representation of political taboo. This situation provokes and reinforces an almost impossible to solve cultural trauma inside the Serbian community, whose population, as a result, reacts by hiding their ethnic origin in the public sphere, in a behavioural pattern known as unacknowledgeability. The reconstruction of the murder will allow me to analyze witness traumatization. In the end, a study of documentary theory, based on Nichols six modes to categorize documentaries will be developed, in order to analyze how cinema, and also the arts in general, can be used as vessels for the exposition of struggles and the development of empathy.
{"title":"Imposing an ideology: cultural trauma and political taboo in Nebojša Slijepčević’s Srbenka","authors":"Yago Paris","doi":"10.1080/2040350X.2020.1861753","DOIUrl":"https://doi.org/10.1080/2040350X.2020.1861753","url":null,"abstract":"Abstract The present paper analyzes Nebojša Slijepčević’s documentary Srbenka from a political and cultural perspective, from the point of view of political taboo and cultural trauma. By tackling the murder of the Zec family during the Croatian War of Independence, the film reflects on the situation of the Serbian national minority and the conflictive situation it has to confront due to the national narratives that the Croatian state has developed, which are a representation of political taboo. This situation provokes and reinforces an almost impossible to solve cultural trauma inside the Serbian community, whose population, as a result, reacts by hiding their ethnic origin in the public sphere, in a behavioural pattern known as unacknowledgeability. The reconstruction of the murder will allow me to analyze witness traumatization. In the end, a study of documentary theory, based on Nichols six modes to categorize documentaries will be developed, in order to analyze how cinema, and also the arts in general, can be used as vessels for the exposition of struggles and the development of empathy.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"39 1","pages":"260 - 275"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79255234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1080/2040350X.2020.1845007
Jiří Anger
Abstract The indexicality of film, generally understood as a connection between the object of reality and its photographic reproduction, remains a defining concept that distinguishes what cinema was and whether it persists in the digital age. Notably, the concept allows us to examine the ontological and aesthetic status of the digitised films from the analogue past. Nevertheless, the variety of material phenomena that appear in such artefacts requires us to reconsider the (f)actors that constitute indexicality. The aim of this paper is to discern a specific indexical logic in the digitised films of the Czech cinema pioneer Jan Kříženecký. While the digitised films benefit from 4K image quality, their material deformations were not retouched but made more visible. These deformations include static electricity marks, which not only signify the original event of shooting the film but also intervene into the formation of figures in the represented world. Kříženecký’s short actuality The First Day of the Spring Races of Prague (1908) will highlight how such intrusive presence of a technological actor brings the quadruple logic of indexicality – torn between representation and materiality, and between trace and deixis – into play, and how it can be prolonged into a specific theoretical and aesthetic thinking.
{"title":"Do archivists dream of electric horses? Digital Kříženecký, static electricity, and the quadruple logic of indexicality","authors":"Jiří Anger","doi":"10.1080/2040350X.2020.1845007","DOIUrl":"https://doi.org/10.1080/2040350X.2020.1845007","url":null,"abstract":"Abstract The indexicality of film, generally understood as a connection between the object of reality and its photographic reproduction, remains a defining concept that distinguishes what cinema was and whether it persists in the digital age. Notably, the concept allows us to examine the ontological and aesthetic status of the digitised films from the analogue past. Nevertheless, the variety of material phenomena that appear in such artefacts requires us to reconsider the (f)actors that constitute indexicality. The aim of this paper is to discern a specific indexical logic in the digitised films of the Czech cinema pioneer Jan Kříženecký. While the digitised films benefit from 4K image quality, their material deformations were not retouched but made more visible. These deformations include static electricity marks, which not only signify the original event of shooting the film but also intervene into the formation of figures in the represented world. Kříženecký’s short actuality The First Day of the Spring Races of Prague (1908) will highlight how such intrusive presence of a technological actor brings the quadruple logic of indexicality – torn between representation and materiality, and between trace and deixis – into play, and how it can be prolonged into a specific theoretical and aesthetic thinking.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"43 1","pages":"90 - 111"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77176114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/2040350X.2020.1855805
Borbála László
{"title":"Getting to the Bottom","authors":"Borbála László","doi":"10.1080/2040350X.2020.1855805","DOIUrl":"https://doi.org/10.1080/2040350X.2020.1855805","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"36 1","pages":"95 - 97"},"PeriodicalIF":0.0,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85386287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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