Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F16%3A00088602" target="_blank" >RIV/00216224:14210/16:00088602 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going

Popis výsledku v původním jazyce

In the case of the history of cinema reception in the Protectorate of Bohemia and Moravia, the myth of a passive resistance of cinemagoers to the German film production often persists. In fact, the attendance was strikingly rising during the era, despite strangling of the indigenous production by the Nazis. And the memories of roughly 90 dedicated cinemagoers we have interviewed about the Nazi era indicate that aside from the Czech movies, the most popular cinema entertainment was represented by the German colour spectacles, melodramas, comedies, and musicals (Münchhausen, Damals, Die Frau meiner Träume, etc.). My research on the reception in the Soviet occupation zone of Germany after the war implies that the German audiences denied the imposed Soviet movies as “primitive” in contrast to the German tradition of “well made movies”. Establishing such opposition served the audiences for a confirmation of the fundamentally shaken national identity under the occupation.

Název v anglickém jazyce

Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going

Popis výsledku anglicky

In the case of the history of cinema reception in the Protectorate of Bohemia and Moravia, the myth of a passive resistance of cinemagoers to the German film production often persists. In fact, the attendance was strikingly rising during the era, despite strangling of the indigenous production by the Nazis. And the memories of roughly 90 dedicated cinemagoers we have interviewed about the Nazi era indicate that aside from the Czech movies, the most popular cinema entertainment was represented by the German colour spectacles, melodramas, comedies, and musicals (Münchhausen, Damals, Die Frau meiner Träume, etc.). My research on the reception in the Soviet occupation zone of Germany after the war implies that the German audiences denied the imposed Soviet movies as “primitive” in contrast to the German tradition of “well made movies”. Establishing such opposition served the audiences for a confirmation of the fundamentally shaken national identity under the occupation.

Druh

O - Ostatní výsledky

CEP obor

AJ - Písemnictví, mas–media, audiovize

OECD FORD obor

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Projekt

<a href="/cs/project/GA16-13375S" target="_blank" >GA16-13375S: Česká filmová kultura a německá okupace: procesy kulturního transferu</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2016

Kód důvěrnosti údajů

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