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Draws on almost the entire corpus of Czech and Slovak cinema! Essential but formerly marginalised talents such as Jiri Trnka and Karel Zeman now rightly enjoy pride of place in the chapter on animation alongside the inevitable Jan A vankmajer! An invaluable book. --Michael Brooke Sight and Sound
A fascinating history of Czechoslovak cinema reveals Czech and Slovak film themes and a discussion of various traditions but it also offers, surprisingly, history seen through the prism of cinema... Innovative and fresh. --Angela Spindler-Brown British Czech and Slovak Review
A fascinating history of Czechoslovak cinema reveals Czech and Slovak film themes and a discussion of various traditions but it also offers, surprisingly, history seen through the prism of cinema... Innovative and fresh. --Angela Spindler-Brown British Czech and Slovak Review
Product Description
This book is the first study in English to examine some of the key themes and traditions of Czech and Slovak cinema, linking inter-war and post-war cinemas together with developments in the post-Communist period. It examines links between theme, genre, and visual style, and looks at the ways in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak Cinema provides a unique study of areas of Central European film history that have not previously been examined in English. Key Features *An overview of the development of the Czech and Slovak industries in the pre-war and post-war periods and their adaptation to privatisation in the 1990s. *A consideration of some of the key stylistic and thematic tendencies, focussing on comedy and lyricism, which are characteristics of all periods. *An examination of the political role of film, with particular emphasis on the period of the Prague Spring. *The continuing influence of the Surrealist tradition in the feature film and on the living tradition of the animated film, with particular reference to puppetry. *An analysis of representations of the Holocaust in films produced during the Communist period and more recently. *A consideration of the defining characteristics of Slovak cinema. The book will be of value to students within the field of Film and Media Studies as well as the general market, together with specialist chapters of interest to other disciplines.
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6 of 6 people found the following review helpful
Format:Paperback
After I finished laughing at the way Amazon unconvincingly turned my Sight & Sound review into a series of slam-bang money-quotes by taking sentences out of context and adding exclamation marks, I thought it might be useful to post the original in full. So here goes:
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Peter Hames' previous book The Czechoslovak New Wave (2005) was the seminal English-language history of Czech cinema, casting its net far wider than the title's 1960s-centred remit would suggest. It's still the first recommendation for anyone seeking to explore the region's film output, though Hames has now produced a follow-up that, while unavoidably overlapping his previous work, also addresses many important omissions.
As the title implies, it's not a chronological history but a collection of themed essays on history, comedy, realism, politics, the Holocaust, lyricism, the absurd, the avant garde, surrealism and animation. It draws on almost the entire corpus of Czech and Slovak cinema, from its earliest pre-World War I fumblings to brand new features such as Agnieszka Holland's just-completed Polish-Slovak film about Janosik, 'the Slovak Robin Hood', one of many historical/ legendary figures to be thoroughly contextualised. Essential but formerly marginalised talents such as Jiri Trnka and Karel Zeman now rightly enjoy pride of place in the chapter on animation, alongside the inevitable Jan Svankmajer.
Eager to rectify a shortcoming of the earlier book, Hames devotes much space to Slovak cinema, including an entire closing chapter on its main proponents (Stefan Uher, Juraj Jakubisko, Elo Havetta, Dusan Hanak and Martin Sulik) and numerous citations elsewhere. He doesn't pretend that the essays are all-encompassing (for instance, the chapter on politics is heavily weighted towards post-1960s films); one of his stated aims is to provide inspiration and encouragement for further research into still under-explored fields. Accordingly, a 14-page bibliography offers an admirably comprehensive list of English-language resources. A list of English-subtitled DVDs would have been equally welcome (the total is well into triple figures. albeit mostly on Czech and Slovak labels), but that's a minor quibble about an otherwise invaluable book. (September 2009)
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Peter Hames' previous book The Czechoslovak New Wave (2005) was the seminal English-language history of Czech cinema, casting its net far wider than the title's 1960s-centred remit would suggest. It's still the first recommendation for anyone seeking to explore the region's film output, though Hames has now produced a follow-up that, while unavoidably overlapping his previous work, also addresses many important omissions.
As the title implies, it's not a chronological history but a collection of themed essays on history, comedy, realism, politics, the Holocaust, lyricism, the absurd, the avant garde, surrealism and animation. It draws on almost the entire corpus of Czech and Slovak cinema, from its earliest pre-World War I fumblings to brand new features such as Agnieszka Holland's just-completed Polish-Slovak film about Janosik, 'the Slovak Robin Hood', one of many historical/ legendary figures to be thoroughly contextualised. Essential but formerly marginalised talents such as Jiri Trnka and Karel Zeman now rightly enjoy pride of place in the chapter on animation, alongside the inevitable Jan Svankmajer.
Eager to rectify a shortcoming of the earlier book, Hames devotes much space to Slovak cinema, including an entire closing chapter on its main proponents (Stefan Uher, Juraj Jakubisko, Elo Havetta, Dusan Hanak and Martin Sulik) and numerous citations elsewhere. He doesn't pretend that the essays are all-encompassing (for instance, the chapter on politics is heavily weighted towards post-1960s films); one of his stated aims is to provide inspiration and encouragement for further research into still under-explored fields. Accordingly, a 14-page bibliography offers an admirably comprehensive list of English-language resources. A list of English-subtitled DVDs would have been equally welcome (the total is well into triple figures. albeit mostly on Czech and Slovak labels), but that's a minor quibble about an otherwise invaluable book. (September 2009)
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