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Kognitívna disonancia je psychologickým javom známym každému človeku: psychologické pnutie, pocit napätia, ktoré vzniká, keď sa dozvieme informáciu, ktorá je v ostrom rozpore s našimi predstavami či svetonázorom.
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Based on the authors own research, the study Noise in Slovak Animated Cinema aims to provide characterization of sound design and noise in particular in Slovak animated films from the 1940`s to 2000 and if possible, define the stages of its development. The author first mentiones the fact that sound has aesthetic value of character nature. She defines the key terms in correlation to brief analysis of the films or in correlation to their categorization. The terms „ stylized „ and „ realistic „ create the basic reference frame that allows the author to define the changing sound trends in the examined films. The two terms take into account the relationship of film animation to reality as well as to the conventions of other film genres. Using the semiotic paradigm analysis and communication test, the author determines how the choice of particular sound affects the scenario of film interpretation. The conclusions of the study refer to the importance of 1989, that brought beside the restructuralization of film production also aesthetic changes in the understanding of sound design, resulting from the different requirements of the animated film genre and the spread of new technologies. With the support of their teachers, these changes were promoted by the fresh graduates from Academy of Performing Arts in Bratislava.
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In his paper, the author deals with the issues of acting in the context of the theatre company Teatro Tatro poetics. He focuses on the nature and typology of acting in its theoretical and generalizing form and is interested in unique variability of expression in acting, highly heterogeneous, flexible and wide-ranging. The author functionally categorizes acting primarily in terms of spatial dimension as well as thematic categories of character and directing. He pays attention to its entertaining nature in broader horizon.
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This study attempts to trace the elements of self-critique that are connected with reflections on film by the film makers themselves. The first example alludes to the transition from critical thinking as the negation of the past to a new self-critical creative work that should no longer repeat the mistakes from the past, which is something film makers want to avoid in the future. The second example has to do with the functioning of a self-critical reflection of the film maker, who judges his own work after a certain period of time. Finally, the third example describes a self critical situation that the film maker tried to translate to the audience through a communication medium that he knows best.
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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 analyzes 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
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This study brings two kinds of findings – methodological and aesthetic. It presents the results of applying a neoformalist approach to the examination of animated films by means of protocol analysis and the characteristics of films by three generations of Slovak animators who made their authorial animated films after 1989. The research focuses almost exclusively on the analysis of the stylistic features of selected films.
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The author of this study deals with the reception of animated films by child viewers. She attempts to clarify the process of how animated stories are understood with regard to the cognitive and emotional skills of children of preschool (4–6) and early school age (7–9). She confirms the theoretical propositions of developmental psychology and supplements them with a qualitative testing of selected age groups. The study aims to outline how children think and apply this knowledge in analyzing the process of how they watch animated films, children’s most favourite film genre. The results not only point to the problems of child viewers, but also of films intended for them.
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This text is a chapter from a more extensive work about the portrayal or narrative of the Slovak State as it was presented by domestic feature films. Despite the fact that a portrayal of the past was almost impossible due to ideological restrictions, several films attempted a more realistic portrayal of the war situation which, however, did not concern the past’s look at its past or geographical-historical awareness. The considerable absence of historical and geopolitical context in the films under survey might have been related not only to the regime under which they were made, but also to authors’ self-censorship, which restricted the opening of real historical and geostrategic links. This text presents fragmentary or hidden motifs of the wider and deeper historical and political ties of the then past as they were portrayed in some films (especially in Private War [Súkromná vojna] and Path Across the Danube [Chodník cez Dunaj]). These are put in contrast with ideologically limited portrayals of the period’s historical one-dimensionality.
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Review of: Andrea Slovakova- Mária Ferenčuhová (ed). Dokumentárny film v krajinách V4. Bratislava: FTF VŠMU, 2014. 231 s.
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The paper deals with the dominant genre of Slovak live action television film after 1989, a psychological family or relationship drama, and puts it in the context of isolationism of contemporary Slovak cinema while at the same time comparing it with later processes of pluralisation of Slovak television film that appeared in line with the first Contract with the State (valid from 2010). It also compares development of live-action television and cinematic film and shows how television production often signalled some major changes in Slovak cinema but also featured remarkable differences between seemingly common genre structures.
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This study explores nationalist strategies inscribed in the media reception of the 1947 Czechoslovak movie Warriors of Faith. While the Slovak press paid only marginal attention to the film, I demonstrate that the Czech press developed an exclusionary Czech nationalist discourse of Hussite tradition while entailing other components of Czech nationalism such as panSlavism. The analysis shows that the film reviews can be differentiated according to a clash between non-communist and pro-communist camps. Although the non-communist press criticized the principles of socialist realism, cultural nationalism, and a historicism, it failed to present any distinctive narrative. On the other hand, pro-communist reviews framed the movie as a normative model for Czechoslovak politics and society, emphasizing elements of Czech nationalism, rendering it an authentic part of communist ideology. They did so by transposing historical realities to the present-day moment and prompting the „legacy fulfilment“ of the proto-communist martyr Jan Roháč to (re)invent Czechoslovak unity and Slavic integrity.
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This study focuses on the first Slovak feature-length film Jánošík (1921) by the Siakeľ brothers. It conducts a historical analysis of the birth of the film and its anchorage in the socio-cultural context. At the turn of the nineteenth and the twentieth centuries and in the first quarter of the twentieth century, there were two crucial works that influenced the Jánošík film. Firstly, it was the novel Jánošík, kapitán horských chlapcov, jeho búrlivý život a desná smrť (Jánošík, the Captain of Mountain Lads, His Tumultuous Life, and Horrible Death, 1894) written by Gustáv Maršall-Petrovský. Although the film makers openly declared that the screenplay, written by Jozef Žák-Marušiak, was based on this novel, it is obvious that the plot of the film does not agree with that of the novel and that its other influential source was Jiří Mahen’s play Jánošík (1910), whose plot was adopted by the film a lot more prominently. Nevertheless, the author traces several common elements in the film and the novel, which he finds in the specific modernistic element in these two adaptations of the legend of Jánošík.
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Two artworks concerning exile and New York, world city and archipelago: Walden from Jonas Mekas (1969) with reference to Henri David Thoreau (1854); and A Necessary Music from Beatrice Gibson (2009) according to The Invention of Morel from Adolfo Bioy Casares (1940). Are these artworks a recreation by the separation achieved by the desert island as described and conceptualized by Gilles Deleuze? But here, the desert island is also a new world, the possible space to new human being, to humans who are inventing themself by the geographical distance from the Ancients, from Europe and Africa: America.
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Memoir of a meeting in Spoleto, Italy, between Zbigniew Herbert, the painter Tadeusz Dominik and the director Luchino Visconti.
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In the winter of 2024, Roman Bondarchuk’s film “Editorial” premiered at the Berlin International Film Festival, offering a fresh perspective on Kherson and its region through the lens of crime, sensational headlines, and preparations for war with Russia. Bondarchuk’s third feature film continues to explore his native land’s ever-changing landscape, both natural and political. His previous works, such as the documentary “Ukrainian Sheriffs” and the feature film “Volcano,” provide a unique view of southern Ukraine. “Editorial” delves into the chaotic reality of Kherson, blending personal memories and research on local corruption and environmental issues. The film’s use of deepfake technology and its satirical portrayal of local elections add a layer of dark humor to the narrative. Bondarchuk’s work highlights the resilience of the region’s inhabitants and the ongoing struggle against corruption and injustice.
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This article examines two sets of films-those produced by amateur home movie-makers, Polish Jewish immigrants to the United States, on return visits home as well as the Six Cities series produced professionally by Sektor Films-in the context of the larger project of the creation of an image of Polish Jewish life in the interwar period. It uses the concepts of nostalgia delineated by Svetlana Boym to argue that even more than fundraising, the filmmakers intended their documentation to create a nostalgic souvenir for Americanized Jews and their children, a pre-facto memorialization of Polish Jewish life.
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The article discusses the experiences and motivations of young recruits in the 3rd Assault Brigade, as depicted in the documentary film “We Were Recruits” by filmmaker Lyubomyr Levytsky. The film aims to portray the inner workings and philosophy of the brigade through the stories of eight diverse characters, including one woman. It highlights the contrast between the harsh realities of war and the humanity of the soldiers, who are depicted as both fierce warriors and compassionate individuals. Levytsky emphasizes the importance of showing the world that Ukrainians are not dangerous, despite the brutal nature of the conflict. The documentary also aims to inspire conscious mobilization and present a new image of the Ukrainian army. Levytsky draws parallels with American filmmaker Michael Bay, whose movies have motivated many to join the military. The film is intended to serve as a form of recruitment and to counter negative stereotypes about Ukrainians. Levytsky’s ultimate goal is to convey that ordinary people can become heroes through their decisions and actions.
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The perception of films is constantly changing in relation to different social changes and cultures. At the same time, it is necessary to keep in mind that the reception of the film depends on previous knowledge, social experiences, imposed dominant narratives and rules both broadly in the social field and narrowly within the artistic field. Film is not only a communication-discursive product, but also an artistic and aesthetic phenomenon, polysemic, often contradictory. Because of all this, recent film studies avoid master narratives and fundamental questions in their analyses. Taking the above into account, in this paper we will approach Disney’s film production of the animated film “Mulan”, showing a complex network of relationships and interpretations, to show the interplay and conflict of different elements within one film production. The significance of the analysis of the animated film “Mulan” from 1998 is reflected in its potential to activate social discussions about neoliberal culture and film as a political tool, and hybridity and capitalist co-optation of ethnic material, but at the same time the new millennium and fluid treatment of identity, gender and sexuality. The correlation of one dimension with another is of interest to research.
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For adults, childhood is far from being reduced to a past and bygone era, but keeps extending over time, summoning mental images through the prism of memory. Therefore, if we consider childhood as an image, it can reach its fuller depiction in the arts thanks to the cinema.
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In the American tradition of the road movie, female characters have often been relegated to being sex workers, third wheels, or background characters who can only be foils to the journeys of male characters on the road. This study examines how two Québécois documentaries, Hotel Chronicles (Léa Pool, 1990) and L.A. Tea Time (Sophie Bédard-Marcotte, 2019) comment on and subvert these expectations of women by placing them simultaneously behind the camera and behind the steering wheel as they travel these American roads. In completing close analysis of scenes from both films and comparing it with texts in feminist studies and Québécois cultural history, this study will reveal the fabricated nature of the American road as well as attest how Québécois women find their place on it.
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