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REPRESENTATIONS OF THE NATION IN SLOVAK CINEMA AFTER 1989

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Dudkova J.

nr 5

562-575

This text is pointing out the vagueness of the national identity concept in contemporary Slovak cinema as well as the uneasiness arising from the emerging requirements of the EU integration, to set ourselves free from the ominous traumas of 'small nations' and to find ways to other forms of presentations of collective identities. It compares especially the development of subjects of Martin Sulik films with the contemporary situation in Slovak fiction film and gradual preferring of documentary film that is now considered a far more cogent medium to represent national identity (which corresponds with moving from Sulik's former style to the social Czech-and-Slovak drama 'The City of the Sun' (2005).

AUTORSKÝ DOKUMENTÁRNY FILM A JEHO VÝVOJOVÉ TENDENCIE V TEORETICKEJ REFLEXII

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Palúch M.

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.

ČESKÉ A SLOVENSKÉ PRIENIKY V DOKUMENTÁRNOM FILME PO ROKU 1993

88%

Palúch M.

tom 59

nr 3

195 – 207

The paper focuses on the delineation of national themes as they began to occasionally crop up in Slovak documentary film after the break-up of the Czechoslovak Federative Republic. In its introductory part, it examines the phenomenon of Czech and Slovak infiltrations in feature and documentary films from the point of view of the natural historical development of common Czechoslovak cinematography. In the second part, based on the factual examples of the documentary film production between 1992 and 1999, the paper highlights thematic and content trends, which reflected the quest for independence of both the nations and their cinematography. In the third, final part, it is concluded that after the year 2000, there has been a decline of the interest of Slovak film professionals in the theme of the split of Czechoslovakia into two independent states. In the process of contemplating over national aspects, the increasingly favoured portrayal is that of a multi-ethnic community composed of a variety of identities, which subsequently co-establish common entity, i.e. the nation.

KÜNSTLERISCHE INTERPRETATIONSPERSPEKTIVEN IN DER SLOWAKISCHEN KULTURLANDSCHAFT: DAS FALLBEISPIEL IRENA BREŽNÁ

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Schwarzbacher A.

nr 4

423 – 439

The article documents the reception of the literary work of Irena Brežná (b. 1950), a Slovak-Swiss writer, journalist, and active feminist who writes in the German language. It focuses on the perception of her work in the Slovak cultural milieu, discussing in particular the translations of her books and analysing the theatrical adaptations of her novels Najlepší zo všetkých svetov ([The best of all worlds] 2009) and Nevďačná cudzinka ([The Thankless Foreigner] 2014, 2016), as well as the dramatization of the text List môjmu čiernemu synovi ([Letter to my black son] 1988). In addition, it analyses the themes that the selected adaptations deal with and the levels of meaning that are implied in them in the context of the current social climate. Central here is the documentary Profesionálna cudzinka ([Professional stranger] 2016) by the director and theatre scholar Anna Grusková, which, through the interconnection of the private, professional and artistic life of I. Brežná paints a complex picture of her personality. Themes of physical and internal (e)migration, otherness, and the relationship to languages come to the fore.