The Role of the Multiple Plot Structure in the History of (Czech) Silent and Early Sound Popular Cinema?

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F24%3A00144673" target="_blank" >RIV/00216224:14210/24:00144673 - 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

The Role of the Multiple Plot Structure in the History of (Czech) Silent and Early Sound Popular Cinema?

Popis výsledku v původním jazyce

My paper aims to explore the origins of the feature-film narrative tradition in Czech cinema. However, it also raises a broader question: Isn't it proper to assume that multiple, relatively episodic film plot patterns with multiple protagonists were not so exceptional in the field of popular cinema before the second half of the twentieth century, as is usually supposed? I intend to open the way to this question through the problem of preferred models of plot development in feature films in Czech cinema from 1925 through 1931, as they can be identified through my formal analysis of all preserved Czech works of the era. Indeed, I can already say that after 1925, it is precisely the tension between two frontier narrative models that can be identified, the second of which is certainly not a mere alternative to the prevailing first: the unified narrative and the multiplied narrative (as I call it). Although, of course, it will not be possible to answer the following questions during the presentation of the paper, they will be in the background of my argument: How can the manifestations of this tension be described as a range of narrative alternatives, what plot patterns can we talk about, what more specific narrative techniques are associated with them, how can they be explained in light of specific historical conditions?

Název v anglickém jazyce

The Role of the Multiple Plot Structure in the History of (Czech) Silent and Early Sound Popular Cinema?

Popis výsledku anglicky

My paper aims to explore the origins of the feature-film narrative tradition in Czech cinema. However, it also raises a broader question: Isn't it proper to assume that multiple, relatively episodic film plot patterns with multiple protagonists were not so exceptional in the field of popular cinema before the second half of the twentieth century, as is usually supposed? I intend to open the way to this question through the problem of preferred models of plot development in feature films in Czech cinema from 1925 through 1931, as they can be identified through my formal analysis of all preserved Czech works of the era. Indeed, I can already say that after 1925, it is precisely the tension between two frontier narrative models that can be identified, the second of which is certainly not a mere alternative to the prevailing first: the unified narrative and the multiplied narrative (as I call it). Although, of course, it will not be possible to answer the following questions during the presentation of the paper, they will be in the background of my argument: How can the manifestations of this tension be described as a range of narrative alternatives, what plot patterns can we talk about, what more specific narrative techniques are associated with them, how can they be explained in light of specific historical conditions?

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

<a href="/cs/project/GA22-23827S" target="_blank" >GA22-23827S: Před Barrandovem: Narativní a stylová poetika českého filmu do roku 1933</a><br>

Návaznosti

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

Rok uplatnění

2024

Kód důvěrnosti údajů

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