Edited By Janina Falkowska and Krzysztof Loska
This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film.
7. Tourists, migrants and travellers: The role of women in reshaping Slovak (cinematic) identity (Jana Dudková)
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Institute of Theatre and Film Research, Slovak Academy of Sciences
7. Tourists, migrants and travellers: The role of women in reshaping Slovak (cinematic) identity 1
Abstract: The chapter focuses on changes in representations of (or attitudes to) journeying and international mobility as seen through post-socialist phase of the Slovak cinema, namely its fiction film. These changes were made more visible especially through generational exchanges, thanks particularly to debuts and second films by debutants of the respective decades. What is particularly interesting here is, nevertheless, the role of women in shaping new attitudes to international mobility. Due to the crisis of Slovak cinema during the 1990s, many male directors ended up in advertising industry, leaving the space for the emergence of the first two strong generations of female directors in the history of Slovak cinema. The chapter examines how these women responded to the image of national cinema built up by debutants of the 1990s, how they abandoned (but at the same time made indirect homages to) generations of their teachers and how they intuitively used their female, cautious and existential stance to the new possibilities of East–West mobility – but at the same time indirectly helped to establish more assertive images of international travellers.
Keywords: Women directors, images of journeying, international mobility, post-socialist cinemas, Slovak cinema, generational exchanges, debuts
The negative experience of travelling, migration and international mobility is a common feature of most...
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