Film Studies: An Introduction (Film and Culture) by Ed Sikov

By Ed Sikov

Ed Sikov builds a step by step curriculum for the appreciation of all kinds of narrative cinema, detailing the basic components of movie shape and systematically education the spectator to be an energetic reader and critic. Sikov primes the attention and brain within the distinct suggestions of movie research. His description of mise-en-scene is helping readers seize the importance of montage, which in flip unearths the significance of a director's use of digicam stream. He treats a couple of primary components in filmmaking, together with enhancing, composition, lights, using colour and sound, and narrative. Film Studies works with any screening checklist and will be used inside of classes on movie heritage, movie concept, or pop culture. basic factors of center serious options, sensible recommendation, and prompt assignments on specific technical, visible, and aesthetic elements additional anchor the reader's realizing of the formal language and anatomy of film.

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Kroh also notes that Czechs were easily assimilated into Polish society, which points to the similarity of Polish and Czech languages and traditions. Many first-generation Poles of Czech origin became very successful, for example the poet Leopold Staff and the painter Jan Styka (Kroh 1992: 7–8). The stereotype of the Czech is also expressed in the only Polish film known to me that discusses Polish–Czechoslovak relations (although in the context of relations within the whole Soviet bloc), Filip Bajon’s Sauna (1992).

A more important sign of Švejk’s presence in Czechoslovak cinema is the fact that what is widely regarded as ‘Švejkian spirit’ pervades a large proportion of war films produced in Czechoslovakia. They do not take the war for granted but question its morality and sanity, usually by applying comedy. Moreover, the nationalistic discourse which typically prevails in war films, in Czechoslovak productions is situated in the background. There is also little emphasis on combat itself. Film authors tend to ask what the war means for a particular individual or a family, rather than for the nation, and choose ordinary civilians as protagonists rather than soldier heroes.

However, while it makes sense in some situations to treat the films made before 1993 as Czech or Slovak, for example on account on the nationality of their directors, the language spoken by the characters and even the national traditions they depicted, in another sense many of them were Czechoslovak because they were shot by Czech and Slovak crews, tackled problems experienced by the whole country and addressed the whole spectrum of viewers living in Czechoslovakia, irrespective of whether they were Czechs or Slovaks.

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