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Matters - never mind. Czech film censorship in the 60s

Book News National Film Archive on the example of the Barrandov Film Studios dealing with censorship in Czechoslovakia between 1962 and 1970. It reconstructs the basics of film censorship system and exposes the relationship between the leaders of the Czechoslovak film Barrandov Film Studios and censorship institutions like the General Administration of Press Supervision or the Ideological Department of the CPC Central Committee .

Censorship does not use the notion of the author, Luke Skupa, in its traditional sense, ie, the restrictive institution that bans and thwarting artistic intentions. He called propositions. New censorship censorship understood as a process of communication in the form of negotiating various members scattered censorship system, and distorts the usual notions of evil censors on one side and damaged makers on the other. The communication model of censorship, which was also developed in the sixties in Czechoslovakia, there can be no unilateral censorship orders which would dutifully fulfill filmmakers. Censorship usually the result of negotiations depended not only on complaints of censorship authorities, but also the activities of filmmakers. They drove themselves moreover own principles of internal approval, during which more than once have anticipated censorship or performed differently motivated editing scenarios and film copies.

Speeches censorship practices were observed during the decade of constant - on the contrary, radically changed following the release of political or reconsolidation, therefore, promote the reform, or vice versa conservative tendencies within the Communist Party. The core of the publication consists of three chapters, a separate key milestones in 1962, 1965 and 1968, which describes the outcome of censorship and communication in three different stages.
During these time periods are transformed as the intensity of stimulus by the censorship authorities and filmmakers responses to them. Also varied personalities that were involved in censorship of communication, their relationships and influence.

The book draws primarily from archival sources, fills the gap that still existed in the research Czech film censorship, and brings a somewhat different perspective on the "golden era" of Czech cinema, which is traditionally assessed in terms of the aesthetic benefits of particular directors or film, regardless of production or just background censorship, which had to filmmaking sixties considerable influence.

The book graphically edited by Michal Krůl of laboratory studies, the text adds next to photographs and diagrams are also rich in Annex archival documents.

The book will be inaugurated September 16, 2016 at 19:30 at the Ponrepo. Putting books in the author's medium-length film screenings will be accompanied by Jaroslav Mach Pretzel 1968 - not very well-known creations, which teeters on the edge of social satire on the socialist commitment and competition.

Luke Skupa is a film historian specializing in the history of Czech post-war cinema with special emphasis on the issues of censorship and a children's film. Doctorate awarded to the Institute of Film and Culture Academy of Arts, Masaryk University in Brno, published a series of studies in collective monographs on Czech movie (Monochrome snář Elmar Klos, scheduled Cinematography, Three Nuts for Cinderella) and as editor of a publication backed Closely Watched Trains (NFA 2014). Dramaturgically he has participated in many domestic film festivals and is currently working as a secondary school teacher and editor Cinepur.

Source: tz, editorially modified

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