By Peter Hames
The 1st learn in English to envision key subject matters and traditions of Czech and Slovak cinema. Linking interwar and postwar cinemas including advancements throughout the post-Communist interval, the amount considers interactions between subject, style, and visible kind and how within which a variety of kinds and traditions has prolonged throughout various old classes and political regimes. Czech and Slovak cinema are a special road into vital ecu movie heritage.
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Extra info for Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema)
The film has been the most successful at the box office in Slovakia since 1990 and has also performed successfully in the Czech Republic. Interestingly enough, the Hussite trilogy, the various Jánošíks and Witchhammer have all been successfully released on DVD. Despite the more critical stance adopted by the historical films of the 1960s – the fact that history becomes a living and relevant reality – they do not contradict notions of Czech and Slovak identity. Perhaps it is worth adding a footnote here on the similar use of classical music.
Oldrˇich’s marriage was childless and the offspring of his liaison with Božena was later to rule as Brˇetislav I. The child represents the hope of national survival in opposition to the forces of the Emperor. Hrubín observed that everyone has his model of history ‘but the inner actions, passing through our consciousness . . 14 Taken by many at the time of its production in September 1968 as a reference to contemporary events, Vávra, who had made two films with Hrubín in the 1960s, originally planned to make it into a film.
He imprisons his double, the baker Mateˇj, also played by Werich, who has allocated the daily supply of bread to the poor. A succession of comic gags leads to his replacing the Emperor, outwitting his advisors and discovering the secret of the Golem. Scripted by Werich, Fricˇ and Jirˇí Brdecˇka, with impressive design and costumes by Jirˇí Trnka, it is a film of some elegance and wit that primarily provides a frame for its performers. While it also supports sound socialist principles, revealing the corruption of the court and supporting ideals of equality and justice, it is scarcely an ideological work and has obvious links to the pre-war collaborations between Fricˇ and Voskovec and Werich.
Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema) by Peter Hames