Research@StAndrews
 
The University of St Andrews

Research@StAndrews:FullText >
University of St Andrews Research >
University of St Andrews Research >
University of St Andrews Research >

Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2012
This item has been viewed 48 times in the last year. View Statistics

Files in This Item:

File Description SizeFormat
GirelliSEEC2011SubvertingSpace.pdf139.18 kBAdobe PDFView/Open
Title: Subverting space : Private, public and power in three Czechoslovak films from the 1960s and 70s
Authors: Girelli, Elisabetta
Keywords: Czechoslovak cinema
Spatial construction
Subversive discourse
Jiří Menzel
Jan Němec
Karel Kachyňa
PN Literature (General)
Issue Date: Mar-2011
Citation: Girelli , E 2011 , ' Subverting space : Private, public and power in three Czechoslovak films from the 1960s and 70s ' Studies in Eastern European Cinema , vol 2 , no. 1 , pp. 49-59 .
Abstract: This paper focuses on three Czechoslovak films from the Communist era: two New Wave features, the Oscar-winning Ostre SledovanéVlaky/Closely Observed Trains (Jirí Menzel, 1966) and O Slavnosti A Hostech/The Party And The Guests (Jan Nĕmec, 1966), plus a key post-Prague Spring film, Ucho/The Ear (Karel Kachyňa, 1970). All three films were banned following the 1968 Soviet invasion. This paper considers the films in the light of their use of spatial constructions and narratives; it argues that the films’ inherent subversive content is primarily articulated through spatial strategies, which also provide the films with their main motivation. Specifically, the paper examines a filmic discourse of political and social subversion which hinges on the negotiation and appropriation of space. Starting from the notion that space is produced by social agency and interaction, and from Michael Foucault’s assertion that ‘we do not live inside a void, inside of which we could place individuals and things […] we live inside a set of relations’, this paper will look at the dynamic relationship of the films’ characters to their allotted spatial situations. At the same time, narrative and visual texts will be contextualized, by relating the films’ representation of private and public space to the national context in which the films were made.
Version: Postprint
Status: Peer reviewed
URI: http://hdl.handle.net/10023/2012
DOI: http://dx.doi.org/10.1386/seec.2.1.49_1
ISSN: 2040-350X
Type: Journal article
Rights: This is an author version of this article. The published version (c) 2011 Intellect Limited is available from doi:10.1386.seec.2.1.49_1
Appears in Collections:University of St Andrews Research
Film Studies Research



This item is protected by original copyright

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.

 

DSpace Software Copyright © 2002-2012  Duraspace - Feedback
For help contact: Digital-Repository@st-andrews.ac.uk | Copyright for this page belongs to St Andrews University Library | Terms and Conditions (Cookies)