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REPRESENTATIONS OF THE NATION IN SLOVAK CINEMA AFTER 1989

100%

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).

PRVNÍ SLOVENSKÝ HOROR? PROCES ZŽÁNROVĚNÍ V NÁRODNÍ KINEMATOGRAFII

88%

Slovák M.

nr 2

173 – 190

This study deals with the genrification process on the example of the Slovak feature horror films of the last two decades. The text is based on the semantic-syntactic- -pragmatic approach of the genre theorist Rick Altman. The article thus differs from the previous studies about Slovak genre creations because these focused on the pre-revolutionary period and the creators associated with it (Juraj Herz, Jan Švankmajer), neglected aesthetic analysis in favour of a pragmatic one, and paid attention only to academically recognized genres (social and historical drama). This study analyses the non-textual level (promotion, reception) and the texts (semantic genre elements, syntax) of six selected works – Nič nekrváca večne (Nothing Bleeds Forever), Socialistický Zombi Mord (Socialist Zombie Massacre), Spiknutie (The Conspiracy), Zlo (Evil), Attonitas, Trhlina (The Rift). The analyses show that, through a phase of peculiar adjectives, and despite its hybridization, horror has become a well-established category, recognized by various groups of people. Despite its solid position, however, it remains a marginal genre due to its production, distribution, and aesthetic exclusivity.

PERZEKÚCIA ŽIDOVSKÉHO OBYVATEĽSTVA A HOLOKAUST V POVOJNOVEJ SLOVENSKEJ KINEMATOGRAFII

75%

Timko Š.

nr 2

128 - 143

The aim of this study is to map the evolution of Slovak films dealing with the subject of the Holocaust and the persecution of the Jewish minority in the twentieth century. Although it zooms in on a wide range of relevant narrative (and, marginally, also documentary) films, its main focus is on the analysis of narrative films by Slovak film makers whose central theme is the Holocaust − Námestie svätej Alžbety (The Square of Saint Elizabeth, 1965), Obchod na korze (The Shop on Main Street, 1965), Nedodržaný sľub (Broken Promise, 2009), and Správa (The Auschwitz Report, 2020). It tries to find the sources of inspiration for these films, examines the diversions of their final adaptation from their literary bases, and ponders their place in Slovak and global cinema. It also addresses the reasons why films with this subject were absent in certain periods of post-war Slovak history.