Imagining Beyond the Human: Marketa Lazarová as Becoming-Animal

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F19%3A10393905" target="_blank" >RIV/00216208:11210/19:10393905 - isvavai.cz</a>

Výsledek na webu

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=jIJu.HcbHN" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=jIJu.HcbHN</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Imagining Beyond the Human: Marketa Lazarová as Becoming-Animal

Popis výsledku v původním jazyce

Two anecdotes appear to be commonly associated with František Vláčil&apos;s magnum opus Marketa Lazarová. The more famous one is that it was voted by critics as the best Czech film ever made. The other one is that the entire crew spent a year living in the wild, using only historical means of survival in order to create such material conditions as to be able to see through the eyes of medieval humans. This experience as part of the creative process came to be part of the film itself, as it is in many ways unlike anything else done by the makers. A sprawling, ever-evolving chaos defying linearity and perspective, perhaps it could be best described as an arrangement of parts connected in complex relation with little that would resemble a unity into which all parts would disappear. The elements then form a multiplicity: the film is consciously one and many at the same time and forms no organic whole.

Název v anglickém jazyce

Imagining Beyond the Human: Marketa Lazarová as Becoming-Animal

Popis výsledku anglicky

Two anecdotes appear to be commonly associated with František Vláčil&apos;s magnum opus Marketa Lazarová. The more famous one is that it was voted by critics as the best Czech film ever made. The other one is that the entire crew spent a year living in the wild, using only historical means of survival in order to create such material conditions as to be able to see through the eyes of medieval humans. This experience as part of the creative process came to be part of the film itself, as it is in many ways unlike anything else done by the makers. A sprawling, ever-evolving chaos defying linearity and perspective, perhaps it could be best described as an arrangement of parts connected in complex relation with little that would resemble a unity into which all parts would disappear. The elements then form a multiplicity: the film is consciously one and many at the same time and forms no organic whole.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

The Cine-Files

ISSN

2156-9096

e-ISSN

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Svazek periodika

2019

Číslo periodika v rámci svazku

14

Stát vydavatele periodika

US - Spojené státy americké

Počet stran výsledku

19

Strana od-do

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Kód UT WoS článku

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EID výsledku v databázi Scopus

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