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3 Palúch M.

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PROBLÉM FORMY A RELATIVIZÁCIA STATUSU DOKUMENTÁRNEHO FILMU V SÚČASNEJ SLOVENSKEJ AUTORSKEJ TVORBE

100%

Palúch M.

Slovenské divadlo (Slovak Theatre)

2017

tom 65

nr 1

49 – 62

The present study offers a critical reflection of contemporary Slovak authorial production. Focusing on three films, the author analyses the authors’ approaches to representing reality from a formal point of view. The author claims that all of them relativize the status of documentary film, using as a tool of critical analysis Carl Plantiga’s definition of documentary film, included in his concept of “asserted veridical representation”. The films under analysis use three formally different approaches of relating to social reality. One relies on an acted form, the second takes the form of a historicizing essay, and the third promotes the author’s subjective views through a cut collage of motifs stemming from reality.

AUTORSKÝ DOKUMENTÁRNY FILM A JEHO VÝVOJOVÉ TENDENCIE V TEORETICKEJ REFLEXII

100%

Palúch M.

Slovenské divadlo (Slovak Theatre)

2015

tom 63

nr 2

129 - 139

This study defines authorial documentary film from the viewpoint of both domestic and foreign film theory. The author notices significant intergeneric differences especially between live action and documentary film. In historical survey he compares basic characteristics and definitions which have appeared in different developmental stages of film studies. Besides theorists, they have been influenced often also by filmmakers. Their development has been significantly affected also by the technical possibilities and restrictions of the time. Critical theory features a division of films according to objectivity (authenticity) and subjectivity (authorship). This division is present in the functional definition of subgroups, which are taken into account in defining documentary film: a relationship of the medium to reality, the analysis of directorial and authorial approaches, formal and stylistic procedures, the specification of genres, dramaturgical and narratological concepts of a work, and the role of a protagonist in a documentary. The authorial documentary film cannot be understood only as the director’s personal contribution to the film, but an important role is also played by collective authorship or the influence of the whole production crew on the recreation of facts stemming from reality.

ANGAŽOVANOSŤ AUTORA V SOCIÁLNOM DOKUMENTÁRNOM FILME

88%

Palúch M.

Slovenské divadlo (Slovak Theatre)

2015

tom 63

nr 3

221 - 230

The author of this study seeks an answer to the question what “authorial documentary film” is. He selects examples from the area of social-critical documentary film, especially lower forms of documentation – a weekly and a newsreel. In a historical perspective he follows how directors realized authorial engagement in dealing with documentary themes for a socio-critical purpose. The authorial work is then put into contrast with genre conventions which do not allow the presence of authors’ subjective view in documentary films. In the cases when authors purposefully transcend the conventions of documentary genres, viewers are confronted mainly with a subjective interpretation of facts. This line of reasoning about authorial and genre documentary film has been present in Slovak theory since the 1980s and corresponds with current Western approaches to understanding documentary film, which compare current documentary films to feature films in terms of how they construct narratives. In its conclusion the author of this study proposes dividing any film production to genre and authorial production. The reason is that authorial documentary production goes beyond the objective documentary functions of documentary film and is independent of genre conventions. In addition, its subjective interpretation of themes makes it similar to feature film production.