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4 Slovenské divadlo (Slovak Theatre)
1 Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)

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PROMĚNY ŽÁNROVÝCH DISKURZŮ: INTERTEXTOVÉ FILMY, REMAKY A POKRAČOVÁNÍ. ITALSKÝ FILMOVÝ PRŮMYSL A POPULÁRNÍ ŽÁNRY OD 90. LET PO 10. LÉTA NOVÉHO MILÉNIA

100%

Švábenický J.

Slovenské divadlo (Slovak Theatre)

2013

tom 61

nr 1

53 – 65

This study examines transformations of genre discourses in relation to the sociocultural background and film industry in period from 1990 to 2012. The main intention of essay is reasoning and explanation of factors that co-formulate criteria, system and various strategic operations in Italian film industry in the context of popular film genres after a long period of great popularity of popular Italian genres regarding audience and various foreign distributions in the 50's – 80's. The important method of contemporary Italian popular cinema in the framework of dialogue with film audience and also new concepts of popular spectacle is return to some tested forms of genres from previous periods of Italian cinema. The author ś analysis is based on the academic resources of Italian film historian and theorist Gian Piero Brunetta, who examines Italian cinema as a complex of interdisciplinary system.

SOUNDTRACKY: SOCIOKULTURNÍ FENOMÉN NA POMEZÍ HUDEBNÍHO A FILMOVÉHO PRŮMYSLU. FILMOVÁ HUDBA K POPULÁRNÍM ŽÁNRŮM V ITALSKÉ KINEMATOGRAFII 60. – 70. LET

88%

Švábenický J.

Slovenské divadlo (Slovak Theatre)

2014

tom 62

nr 4

409 – 421

This paper analyses and examines film music and soundtracks using the example of selected categories of popular genres of Italian cinema of the 1960s and 1970s. The focus of interpretative interest is the trans-genre, sociocultural and industrial meanings and discourses of Italian film music as an integral part of popular culture at the time when soundtracks gained new importance as Italian popular culture was transforming. The article interprets the new compositional methods of Italian film composers, the cultural and industrial relationship between music labels and film production companies and especially the popular cultural connections of film music with particular popular genres of Italian cinema in the 1960s and 1970s. It also takes into account the 1950s, 1980s and 1990s. There is an emphasis on the categories of popular genres, such as “western all'italiana” (Italian/Spaghetti Westerns), “erotico all'italiana” (Italian erotic films) and “musicarello all'italiana” (Italian musical films), that were part of the main industrial discourse of Italian cinema in the 1960s and 1970s.

OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. MULTIDISKURZIVNÍ OBRAZ POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 1. ČÁST

88%

Švábenický J.

Slovenské divadlo (Slovak Theatre)

2012

tom 60

nr 1

49 – 68

The study examines popular genres in Italian cinema of 1960s and 1970s as a sociocultural phenomenon in the context of cultural background and film industry. The text is structured as interdisciplinary interpretation and explores the theme in the level of textual and inter-textual analysis. It includes wide framework of various aspects related to questions of the subject of study. It examines also Italian genre terminology and titles of some films that belong to popular cycles and series of concrete genres. It demonstrates that interests and intentions of filmmakers, producers, distributors and the audience with regard to film genres are absolutely different. The text is based on methodological approach of interdisciplinary conception of history of Italian cinema that was elaborated by film historian and theorist Gian Piero. The first part of the study is focused on two Italian genres: peplo or storico-mitologico (in the foreign context, the genre is known as peplum or sword and sandals) and western all‘italiana (in popular and academic writing about cinema known also as spaghetti-western).

ENNIO MORRICONE, ITALSKÝ WESTERN A POPULÁRNÍ ŽÁNRY. SKLADATEL V SOCIOKULTURNÍM A PRŮMYSLOVÉM KONTEXTU ITALSKÉ KINEMATOGRAFIE 60. – 70. LET

75%

Švabenický J.

Slovenské divadlo (Slovak Theatre)

2015

tom 63

nr 2

140 - 153

This study examines the creative position and role of the music composer and conductor Ennio Morricone in the socio-cultural and industrial context of Italian film industry in the period of the 1960s and 1970s. Using an interdisciplinary approach to this theme, the text in particular explores the link between popular genres of Italian cinema in this historical period and Morricone’s film music and soundtracks. This study analyses music styles, genres and levels that the composer used in his compositions for popular genres such as western all'italiana (western in the Italian style), spionaggio all'italiana (spy film in the Italian style), guerra all'italiana (war film in the Italian style), giallo all'italiana (detective film in the Italian style) or poliziesco all'italiana (police film in the Italian style). These and also other genre categories of Italian cinema represented new models and variations of popular spectacle that were meant for international distribution. This industrial factor was one of the reasons for the growing global popularity of Morricone’s soundtracks because most Italian popular films produced in this period had a great success with the audience.

FILM AS THE RESULT OF THE COOPERATION BETWEEN AUTHORS AND PRODUCERS (Film ako vysledok spoluprace tvorcov a producentov)

63%

Skreko A.

Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)

2010

tom 93

nr 4

344-358

Audiovisual culture is nowadays one of the most popular fields of the cultural expressions. The film industry holds very powerful instrument to address the lives of the people all around the globe and to bring them education, entertainment and information on the one hand, but also the expressions of the national cultural heritage, values and new ideas on the other hand as well. This unlimited cross-border 'movementt' of the audiovisual products that are also protected by copyright brings the legal science and the legal practice as well as the various types of questions, issues and queries that should be address and solved in order to secure the legal distribution and using of the films, audiovisual recordings and other potential protected (audiovisual) works. Other priority of the legal science in the field of the audiovisual creation can be found in the relationships inside the filmmaking process, it means the rights and relationships between the authors (the director, screenplay author(s), cameramen, performing artists etc.) and the producers (studios), especially in the connection with the further distribution of the film and the protection of the investments in the whole process. Presented study should be the 'invitation' for the further scientific discussion on the above mentioned issues. The study brings the historical comparison of the development of the basic institutes of the 'film law' and the deliberation on the main possibilities of the legal structuring of the rights and relationships inside the - what we call - audiovisual work.