Between units and producers : organization of creative work in Czechoslovak State Cinema 1945-1990

SZCZEPANIK, Petr. Between units and producers : organization of creative work in Czechoslovak State Cinema 1945-1990. In Adamczak, Marcin; Marecki, Piotr; Malatyński, Marcin. Restart zespolów filmowych : Film Units : Restart. Kraków: Ha!art, 2012, s. 271-312. ISBN 978-83-62574-73-5.

Základní údaje

• Originální název: Between units and producers : organization of creative work in Czechoslovak State Cinema 1945-1990
• Autoři: SZCZEPANIK, Petr (203 Česká republika, garant, domácí).
• Vydání: Kraków, Restart zespolów filmowych : Film Units : Restart, od s. 271-312, 42 s. 2012.
• Nakladatel: Ha!art

Další údaje

• Originální jazyk: angličtina
• Typ výsledku: Kapitola resp. kapitoly v odborné knize
• Obor: Umění, architektura, kulturní dědictví
• Stát vydavatele: Polsko
• Utajení: není předmětem státního či obchodního tajemství
• Forma vydání: tištěná verze "print"
• WWW: Ha!art
• Kód RIV: RIV/00216224:14210/12:00058329
• Organizační jednotka: Filozofická fakulta
• ISBN: 978-83-62574-73-5
• Klíčová slova česky: český film; Barrandov; tvůrčí skupiny
• Klíčová slova anglicky: Czech cinema; Barrandov studios; creative units
• Štítky: film history, media industry, rivok

Anotace

So-called state-socialist mode of film production was in fact a peculiar hybrid of local, regional and global models: it was prepared by the Nazi cultural politics (the idea of centralized "dramaturgy" which enabled ideological control) and Aryanization (which made the post-war nationalization easier). After 1945 and later, after 1948 (when Communists took power in Czechoslovakia), it further developed according to local (Bata shoe factory, inspired by American scientific management) and global (Soviet system, silently inspired by Hollywood vertically integrated studios) models. These three levels of organizational tradition - both in terms of production mode and work culture - persisted as mutually interacting ingredients of the state monopoly until the late 1980s and even on. The aim of the paper is to articulate a comparative model for historical analysis of nationalized cinemas in the region, using the Barrandov studios in Prague as an example. The key question it asks is: how was creativity and day-to-day production of films tactically managed in a system where the only real producer was the state? What organizational instruments had to be developed to balance the centralized control with necessary creative freedom?

Návaznosti

• GAP409/10/1361, projekt VaV: Název: Historie ateliérů na Barrandově z hlediska organizace a kultury filmové výroby

Investor: Grantová agentura ČR, Historie ateliérů na Barrandově z hlediska organizace a kultury filmové výroby