SKOPAL, Pavel. Offers Difficult to Refuse : Miloš Havel and Clientele Transactional Networks in the Protectorate Bohemia and Moravia. In Skopal, Pavel; Vande Winkel, Roel. Film Professionals in Nazi-Occupied Europe. Mediation Between the National-Socialist Cultural "New Order" and Local Structures. Cham: Palgrave Macmillan, 2021, p. 147-169. European Cinema and TV. ISBN 978-3-030-61633-5. Available from: https://dx.doi.org/10.1007/978-3-030-61634-2_6.
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Basic information
Original name Offers Difficult to Refuse : Miloš Havel and Clientele Transactional Networks in the Protectorate Bohemia and Moravia
Authors SKOPAL, Pavel (203 Czech Republic, guarantor, belonging to the institution).
Edition Cham, Film Professionals in Nazi-Occupied Europe. Mediation Between the National-Socialist Cultural "New Order" and Local Structures, p. 147-169, 23 pp. European Cinema and TV, 2021.
Publisher Palgrave Macmillan
Other information
Original language English
Type of outcome Chapter(s) of a specialized book
Field of Study 60405 Studies on Film, Radio and Television
Confidentiality degree is not subject to a state or trade secret
Publication form printed version "print"
WWW URL
RIV identification code RIV/00216224:14210/21:00119201
Organization unit Faculty of Arts
ISBN 978-3-030-61633-5
Doi http://dx.doi.org/10.1007/978-3-030-61634-2_6
Keywords in English Protectorate Bohemia and Moravia; patronage; film studios; Nazi occupation; Miloš Havel; Barrandov
Tags rivok, topvydavatel
Changed by Changed by: Mgr. et Mgr. Lucie Tomaňová, učo 445546. Changed: 10/5/2022 13:54.
Abstract
At the time of German occupation in 1939, film producer and businessman Miloš Havel was arguably the most influential personality in the Czechoslovak national film industry. During the Protectorate, he was deprived of the main source of his agency, the Barrandov studios, and lost most of his Czech political patrons when the Protectorate government was reorganised in January 1942. Though deprived of the support he previously enjoyed in the heteronomous world of politics, he was able to maintain his transactional network within the film world and to compensate for the lost connections to political patrons. This chapter provides insight into the measures, whereby this local actor sought to maintain his network and capital, to preserve his pre-war resources, and to keep established structures working under highly volatile circumstances. The concepts of patronage, brokers, and transactional networks provide the theoretical framework for the analysis of Havel’s career during the period under consideration.
Links
GA16-13375S, research and development projectName: Česká filmová kultura a německá okupace: procesy kulturního transferu
Investor: Czech Science Foundation
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