Detailed Information on Publication Record
2013
The State-Socialist Mode of Production and the Political History of Production Culture
SZCZEPANIK, PetrBasic information
Original name
The State-Socialist Mode of Production and the Political History of Production Culture
Authors
SZCZEPANIK, Petr (203 Czech Republic, guarantor, belonging to the institution)
Edition
1. vyd. New York, Behind the Screen: Inside European Production Cultures, p. 113-134, 22 pp. Global Cinema, 2013
Publisher
Palgrave Macmillan
Other information
Language
English
Type of outcome
Kapitola resp. kapitoly v odborné knize
Field of Study
Art, architecture, cultural heritage
Country of publisher
United States of America
Confidentiality degree
není předmětem státního či obchodního tajemství
Publication form
printed version "print"
RIV identification code
RIV/00216224:14210/13:00066689
Organization unit
Faculty of Arts
ISBN
978-1-137-28217-0
Keywords (in Czech)
systém filmové produkce; ČSSR; produkční kultura
Keywords in English
film production system; Czechoslovak Socialist Republic; production culture
Tags
Tags
International impact, Reviewed
Změněno: 4/4/2014 16:02, Mgr. Vendula Hromádková
Abstract
V originále
This chapter aims to offer a model with which to compare the historical character of the various nationalized cinemas of East-Central Europe. The example of Barrandov Studios in the Czech capital of Prague provides my case study. The chapter pays particular attention to the manner in which day-to-day creative activities were managed within a system that designated the state the sole official producer, and to organizational solutions that were introduced in an effort to strike a balance between centralized control and creative freedom. I also focus on the ways in which such a mode of production operated within the historical realities of this production community, and on how its activities responded to institutional interests. I begin by sketching what I call the "state-socialist mode of film production"--which comprises management hierarchies, the division of labor, and work practices--through the example of Czechoslovak cinema from 1945 to 1990, and the systemic variations that it exhibited to other film industries in the region. There follows a description of "dramaturgy": a system of screenplay development and creative supervision that was typical of both the Czech and East German production systems, and which serves to highlight the revisionist dimensions of my model. A further three sections reveal some important aspects of the "production culture," which is to say a set of lived realities as they were experienced by workers throughout the professional hierarchy. The combination of these two approaches--one organizational in perspective (top-down), the other cultural (bottom-up)--enables us to read official production documents against the grain and to show that they offer limited accounts of what actually took place. Consequently, this chapter is able to shed new light on how production communities "internalized and acted upon" regulatory environments and institutional interests.
Links
GAP409/10/1361, research and development project |
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