Czeck+New+Wave



The Czech New Wave of the mid-1960s encompassed a variety of revolutionary styles that influenced directors around the world. Of all the cinematic New Waves, the one in Czechoslovakia was the most fruitful, and most radical. Born of dissent against the Communist regime, the films often sublimate their critiques in absurdity, humor, and pathos. The brief Prague Spring of early 1968 allowed for more direct commentary, but the invasion by the Soviets in August 1968 and the subsequent implementation of the Warsaw Pact curtailed freedom of speech, heightened censorship, and forced the emigration of some key directors. Many of the Czech New Wave films were banned by the Soviet-controlled government in Prague, and most were not seen again until the Velvet Revolution of 1989. ( [|http://www.getty.edu])

Readings:
[|Czech and Slovak Cinema by Andrew James Horton] [|Czech Surrealism and Czech New Wave Realism by Alison Frank]

Watch:
Directed by Vera Chytilová (1966, 76 minutes, English subtitles)
 * Daisies (Sedmikrasky)**

One of the New Wave's most anarchic films,Daisies is also considered a touchstone of feminist film; these traits made the Communist government sense danger and it was immediately banned. By far the most dazzlingly experimental film of this period, the surrealism achieved by Daisies' collage and optical effects is matched in absurdity only by the mischevious and satirical behavior of its two irreverent heroines. Presented with an introduction by Los Angeles artist Jennifer West. ([|http://www.getty.edu])

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Directed by Juraz Hurz (1969, 95 minutes, English subtitles, 35mm)
 * The Cremator (Spalovac Mrtvol)**

Another film not to survive after the Prague Spring of 1968, Juraj Hurz's The Cremator was banned after its premiere and wouldn't be seen again until the collapse of the Soviet Union in 1989. Karel Kopfrkingl (Rudolf Hrušínský) a man who works at a crematorium, indulges in his job with fanatical devotion believing he not only turns blood and bone into ash but liberates the souls of the departed for reincarnation. It's not difficult to work out the allegory and symbolism here especially considering its setting amidst the period of political radicalization in Europe during the 1930s, and the establishment of the Nazi party. Part black comedy and part psychological horror, Hurz effortlessly flits between the two and deserves his place among his more recognised new wave peers. ([|http://theculturetrip.com/]) media type="youtube" key="VhSez0nP8G0" width="560" height="315"

Directed by Jiri Trnka (1966, 18 minutes)
 * The Hand (Ruka),**

Ruka or The Hand is the work of polemic Czechoslovakian puppeteer Jirrí Trnka and is widely considered his greatest achievement by fans, critics, and the man himself. A commentary, satire, and protest on communist state control on artistic creativity it has also been noted for its possible anticipation of the Prague Spring. Ruka visits a sculptor demanding a sculpture of himself be completed; unrelentingly tormented by the hand, the sculptor takes drastic and surreal measures. A confrontational and affecting piece of animation. ([|http://theculturetrip.com/])

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= Below is a pretty solid, student documentary on the Czech New Wave with a thesis. Take this as inspiration for your Independent Study =

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 * Trailers From Hell**