Czech cinema

The Tchéquie (and before the Czechoslovakia) are the cradle many scenario writers who made the fame of the Czech cinema . The Czech cinematographic art was popularized with the international level thanks to works of scenario writer like Miloš Forman, with titles headlights like Vol with the top of a nest of cuckoo , Amadeus ) and Jiri Menzel with narrowly monitored Trains .

Genesis

The history of the Czech cinema begins in 1898 and proposes first films of Jan Kříženecký, regarded as the father of the Czech cinema. The first cinemas open with the public as of 1907.

Anny Ondra is the first Czech actress of cinema to export itself in Europe; she played the central role in two films of Alfred Hitchcock, of which the first talking film British, Chantage (1929).

Inter-war period

The history of the Czechoslovakian cinema is closely connected with that of the Famille Havel since they are the brothers Miloš Havel (1899-1968) and Václav Havel (1897-1979) (grandfather of the homonymous president, Václav Havel) which played a role-key there.

In 1921, Miloš Havel founds the joint stock company A-B by amalgamating the companies American Film distribution with Biografia, another company of film distribution.

At the beginning of the Years 1930, his/her Václav brother founds the Studios Barrandov and a residential complex of luxury for the stars of the incipient cinema, with Barrandov, a district of the south of Prague named according to Joachim Barrande, a French geologist who had made research on the site rich in trilobites and other fossils.

The first film, the Murder of the street Ostrovní , leaves the Barrandov studios in 1931. The production increases quickly and, on average, eight Long-métrage S left there per annum, produced by three hundred employees.

After the second world war

Following the Blow of Prague of 1948, the Czech cinema is nationalized. In the Years 1950, bureaucratic bodies in load of the cinema industry whose Czechoslovakian Film of State ( Československý státní film ) deals with the process of approval of films, from an ideological point of view under the high surveillance of the Czechoslovakian Communist party.

One can, for this period, speech of Dramaturgie of State, regulated in his least details by bureaucratic regulations, directives and bodies of which the cinematographic artistic Committee ( Filmový umělecký sbor ), the Power station of dramaturgy ( Ústřední dramaturgy ) and its antennas like the collective Management of the Power station of dramaturgy ( Kolektivní vedení ústřední dramaturgy ), the Council of the cinema ( Filmová split ), the artistic Council ( Umělecká split ) and the “ideal” Council (to include/understand ideological) artistic ( Ideově umělecká split ).

The films of Cartoons of Karel Zeman, Jiří Trnka and Jan Švankmajer know an international reputation.

Czech New wave

The national cinema knows a New wave on the initiative of plusieus young authors in 1960 like Forman and Menzel, Jaromil Jireš, Věra Chytilová, J. Nemec, E. Schorm and F. Vlacil. Censure of a Soviet type is set up directly.

The Czechoslovakian New wave was made famous thanks to the talent of Milos Forman, Věra Chytilová, Ivan Passer, Jaroslav Papoušek, Jiří Menzel, Jan Němec, Jaromil Jireš inter alia.

The Czech cinema after 1989

In the first years after the Revolution of velvet, cinema industry is gradually privatisée. The first film carried out apart from the state monopoly is Tankový prapor (1991, by Vít Olmer). It was produced by the Bontonfilm company.

The censure of State stops and the realizers must confront themselves with the market.

See: List of Czech films after 1989.

The Oscar of best film in foreign language

By three times, the Oscar of best film in foreign language was decreed with a Czech or Czechoslovakian film:

the Mirror with the larks of Ján Kadár and Elmar Klos in 1965;
narrowly monitored Trains of Jiří Menzel two years later;
Kolya , of Jan Svěrák, more recently, in 1996.

Notes and sources

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