Too many hands : a bureaucratic screenwriting for the Czech silent national epic Svatý Václav (St. Wenceslas) (1930)

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F21%3A00121252" target="_blank" >RIV/00216224:14210/21:00121252 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.tandfonline.com/doi/full/10.1080/2040350X.2021.1889771?src=" target="_blank" >https://www.tandfonline.com/doi/full/10.1080/2040350X.2021.1889771?src=</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1080/2040350X.2021.1889771" target="_blank" >10.1080/2040350X.2021.1889771</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Too many hands : a bureaucratic screenwriting for the Czech silent national epic Svatý Václav (St. Wenceslas) (1930)

Popis výsledku v původním jazyce

This article examines the Czech screenwriting practice vis-a-vis state-subsidised cinema. It focuses on the silent national epic drama St. Wenceslas (Svatý Václav, 1930) and sheds light on the forms of bureaucratic interventions throughout the formalised writing process. Drawing on Ian W. Macdonald’s concepts of screen idea and screen idea work group, the paper seeks to explain a collective dynamic and deals with the official historiography issue. I argue that academics had frequently altered the screen idea to suit their historical interpretation. Since this was enabled by their prominence in the collective, the article examines the hierarchy of power in the decision-making process and the forms of collaboration, competition and negotiation. In so doing, it helps us to rethink the screenwriting practice by explaining the functions of the screenwriting contest jury and the impact of supervisory voices delineating textual boundaries. The outlined screenwriters’ solutions then illustrate both the creativity in telling the well-known story within the limits and the pragmatic decrease in artistic ambitions.

Název v anglickém jazyce

Too many hands : a bureaucratic screenwriting for the Czech silent national epic Svatý Václav (St. Wenceslas) (1930)

Popis výsledku anglicky

This article examines the Czech screenwriting practice vis-a-vis state-subsidised cinema. It focuses on the silent national epic drama St. Wenceslas (Svatý Václav, 1930) and sheds light on the forms of bureaucratic interventions throughout the formalised writing process. Drawing on Ian W. Macdonald’s concepts of screen idea and screen idea work group, the paper seeks to explain a collective dynamic and deals with the official historiography issue. I argue that academics had frequently altered the screen idea to suit their historical interpretation. Since this was enabled by their prominence in the collective, the article examines the hierarchy of power in the decision-making process and the forms of collaboration, competition and negotiation. In so doing, it helps us to rethink the screenwriting practice by explaining the functions of the screenwriting contest jury and the impact of supervisory voices delineating textual boundaries. The outlined screenwriters’ solutions then illustrate both the creativity in telling the well-known story within the limits and the pragmatic decrease in artistic ambitions.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2021

Kód důvěrnosti údajů

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

Název periodika

Studies in Eastern European Cinema

ISSN

2040-350X

e-ISSN

—

Svazek periodika

12

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

15

Strana od-do

121-135

Kód UT WoS článku

000777756500003

EID výsledku v databázi Scopus

2-s2.0-85101880401