FAVs017 Cinema of Central Europe: Hungary and Poland

Faculty of Arts
Autumn 2006
Extent and Intensity
2/0. 4 credit(s). Type of Completion: k (colloquium).
Teacher(s)
PhDr. Jaromír Blažejovský, Ph.D. (lecturer)
Guaranteed by
prof. PhDr. Jiří Voráč, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Wed 18:20–20:45 C34, Thu 10:00–12:25 C34
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
fields of study / plans the course is directly associated with
there are 9 fields of study the course is directly associated with, display
Course objectives
The course is focused on two Eastern European nation cinemas, close from aesthetic and historic points of view. We will study the work of auteurs, which showed great courage and artistic originality in reflection of tragic collective experience, used their own metaphorical systems or created autonomous fiction worlds: Zoltán Fábri, Miklós Jancsó, István Szabó, András Kovács, Péter Bacsó, Márta Mészárosová, Zoltán Huszárik, Gábor Bódy, Béla Tarr. The Polish cinema was at the top of its social and artistic importance in the period of so called Polish school (1956-1963, Andrzej Munk, Jerzy Kawalerowicz, Wojciech J. Has) and in the period of the Cinema of Moral Anxiety (1976-1981, Krzysztof Zanussi, Krzysztof Kieslowski). The central figure of all periods is Andrej Wajda. We will also discuss authors whose career continued abroad (Roman Polański, Jerzy Skolimowski, Andrzej Żuławski). Literature: LIEHM, Mira & LIEHM, Antonín J. (1980): The Most Important Art: Soviet and Eastern European Film After 1945, Berkeley - Los Angeles London: University of California Press; CUNNINGHAM, John (2004): Hungarian Cinema from Coffe House to Multiplex; London: Wallflower Press. PETRIE, Graham (1981): History Must Answer to Man, Budapest: Corvina Kiadó. COATES, Paul (2005): The Red and the White, London: Wallflower Press. Films: A tanú (The Witness, Péter Bacsó 1969), Angi Vera (Vera Angi, Pál Gábor 1978), Apa (Father, István Szabó 1966), Csillagosok, katonák (The Red and the White, Miklós Jancsó, 1967), Eszkimó asszony fázik (Eskimo Woman Feel Cold, János Xantus 1983), Fényes szelek (Sparkling Winds aka Confrontation, Miklós Jancsó, 1969), Hannibal tanár úr (Professor Hannibal, Zoltán Fábri, 1956), Hideg napok (Cold Days, András Kovács 1966), István, a király (Stephen, the King, Gábor Koltay 1983), Körhinta (Merry-Go-Round, Zoltán Fábri, 1955), Még kér a nép (Red Psalm, Miklós Jancsó, 1965), Mephisto (István Szabó 1981), Napló gyermekeimnek (Diary for My Children, Márta Mészárosová, 1982), Psyché (Gábor Bódy 1980), Sátántangó (Satan's Tango, Béla Tarr 1994), Sodrásban (Current, István Gaál 1963), Szegénylegények (The Round-Up, Miklós Jancsó, 1965), Szerelem (Love, Károly Makk, 1970), Szindbád (Sindibád, Zoltán Huszárik, 1971). Barwy ochronne (Camouflage, Krzysztof Zanussi, 1976), Człowiek na torze (Man on the Track, Andrzej Munk 1956), Człowiek z marmuru (Man of Marble, Andrzej Wajda 1977), Eroica (Andrzej Munk 1957), Iluminacja (Ilumination, Krzysztof Zanussi, 1973), Kanał (Canal, Andrzej Wajda 1957), Matka Joanna od Aniołów (Mother Joan of the Angels, Jerzy Kawalerowicz, 1961), Na wylot (Through and Through, Grzegorz Królikiewicz, 1972), Nóż w wodzie (Knife in the Water, Roman Polański 1962), Popiół i diament (Ashes and Diamonds, Andrzej Wajda 1958), Rękopis znaleziony w Saragossie (The Saragossa Manuscript, Wojciech J. Has, 1965), Wesele (The Wedding, 1973), Wszystko na sprzedaż (Everything for Sale, Andrzej Wajda 1968), Ziemia obiecana (The Promised Land, Andrzej Wajda 1974).
Assessment methods (in Czech)
Kolokvium: osobní anotovaná filmografie 24 (12 + 12)zhlédnutých filmů a rozprava k nim.
Language of instruction
Czech
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