By Ewa Mazierska
Ewa Mazierska has set herself an bold activity with this her new good researched book...[Her] research excels within the breadth of its comparability of Czech and varnish films...The quantity additionally makes a precious contribution to the learn of ways Socialist Realism was once carried out in Czech and varnish cinema." . Slavonic and East eu overview
"Offering a very good evaluate of masculinity - in courting to conflict, fatherhood, love, and homosexuality - in Polish, Czech, and Slovak movie this available hugely interpretive paintings addresses a couple of movies after which makes an attempt to contextualize their which means in a bigger framework...One of the best strengths of this paintings is its historic grounding... The author's sophisticated knowing of bigger mental forces at paintings ... make this a dynamic, enticing learn. a useful source for college students of central/eastern ecu movie reports and gender studies." . Choice
..".This is an clever and insighful research of masculinities in 3 certain and artistically vivid japanese ecu countries. And whereas the writer admits to trating basically decide on motion pictures, the breadth of flicks lined is however impressive." . Slavic and East ecu Journal
Gender, specially masculinity, is a viewpoint hardly ever utilized in discourses on cinema of Eastern/Central Europe. Masculinities in Polish, Czech and Slovak Cinema exposes an English-speaking viewers to a wide share of this region's cinema that in the past remained unknown, targeting the connection among illustration of masculinity and nationality within the movies of 2 and later 3 international locations: Poland, Czechoslovakia/the Czech Republic and Slovakia. the target of the booklet is to debate the most varieties of males populating Polish, Czech and Slovak motion pictures: that of soldier, father, heterosexual and gay lover, opposed to a wealthy political, social and cultural heritage. Czech, Slovak and varnish cinema seem to supply first-class fabric for comparability as they have been produced in neighbouring international locations which for over 40 years continued the same political approach - nation socialism.
Ewa Mazierska is Professor of up to date Cinema, division of Humanities, college of primary Lancashire. Her courses contain a number of articles in Polish and English and several other books, comparable to Roman Polanski: The Cinema of a Cultural Traveller (I.B. Tauris, 2007), Women in Polish Cinema (Berghahn, 2006) (co-authored with Elzbieta Ostrowska), Dreams and Diaries: The Cinema of Nanni Moretti (Wallflower Press, London, 2004) and From Moscow to Madrid: Postmodern Cities, European Cinema (IB Tauris, 2003, London) (both co-authored with Laura Rascaroli). She additionally co-edited Relocating Britishness (MUP, 2004). Her newest identify is Jerzy Skolimowski: The Cinema of a Nonconformist (Berghahn, 2010)
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Extra info for Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble
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.