Czech and Slovak Cinema: Theme and Tradition (Traditions in by Peter Hames

By Peter Hames

The 1st research in English to envision key topics and traditions of Czech and Slovak cinema. Linking interwar and postwar cinemas including advancements throughout the post-Communist interval, the quantity considers interactions between subject matter, style, and visible type and how within which quite a number kinds and traditions has prolonged throughout diverse ancient classes and political regimes. Czech and Slovak cinema are a different street into imperative eu movie background.

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But, as Gedeon once put it, he is more influenced by the society in which he lives and its traditions, as were the directors of the wave, than by individual films and directors. Although Miloš Forman observed that the films that he and his colleagues produced in the 1960s were influenced by the ‘bad’ films they saw around them rather than by any deeper tradition, they also acknowledged the influence of Jirˇí Voskovec and Jan Werich, whose comic vision had dominated Czech theatre in the 1930s and had also led to four feature films.

Eventually, the king releases him out of political necessity. Another important historical film made in 1968 was Hynek Bocˇan’s Honour ˇ est a sláva), which was released in 1969. It was adapted from and Glory (C a novel by Karel Michal and set during the Thirty Years’ War following the Battle of the White Mountain. The film provides a portrait of a Czech nobleman, Václav Rynda (Rudolf Hrušinský), whose property was lost after the 26 HISTORY defeat at the White Mountain and who now ekes out a living with his followers, more peasant than nobleman.

It would be fair to say that the low-budget black-and-white historical film was a characteristic of the 1960s, not only looking at historical parallels but also relevant moral and political issues. In 1969, Otakar Vávra made his contribution with one of his best films, Witchhammer, dealing with the seventeenth-century witchcraft trials. While, like most of his films, it is reliant on dialogue, it was made with a relentless precision, rhythm and logic. It is also beautifully staged in cinemascope, with stylish photography (Josef Illík) and a compelling score by Vávra’s regular collaborator, Jirˇí Srnka.

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