By Aga Skrodzka
This can be a serious research of magic realism within the cinema of East relevant Europe. This survey explores the interlocking complexities of 2 techniques: magic realism and East significant Europe. every one is an engaging hybrid that resonates with dominant currents in modern proposal on transnationalism, globalisation, and regionalism. Aga Skrodzka strikes the present debate over magic realism's political influence from literary stories to movie experiences. Her shut textual research of flicks by way of administrators reminiscent of Jan Svankmajer, Jan Jakub Kolski, Martin Sulik, Ivo Trajkov, Dorota Kedzierzawska, Ildiko Enyedi, Bela Tarr and Emir Kusturica is followed via an research of the socio-economic and political context with a view to either learn and popularise a big and distinct culture in global cinema. The directors' creative achievements remove darkness from the connections among a specific aesthetics and the social constitution of East crucial Europe at an exact second of up to date background.
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Extra info for Magic Realist Cinema in East Central Europe (Traditions in World Cinema)
The film, which uses elements of magic realism within the D generic framework of a mocumentary, was a box-office success and winner of the main prize of the Crystal Globe at the 37th Karlovy Vary International Film Festival. Although highly sophisticated formally (intertextual and metacinematic), Year of the Devil, like Zelenka’s other films, explores very basic and universal themes, such as life, death, friendship, man’s search for God and creative fulfilment. The complex premise of Zelenka’s experimental film can be summarised as the story of a Dutch documentary filmmaker, Jan Holman (Jan Prent playing a fictitious character), who is struggling with alcohol addiction and embarks on a creative project to film a documentary about a Czech alcohol rehab facility because he hears that, in the Czech Republic, they actually know how to cure alcoholics successfully.
It is significant that, in her ecumenical gesture, the filmmaker scrambles the directionality of the local and the global influence, making any kind of judgement about the prevalence of one over the other irrelevant. The well-acknowledged difference between the colonisation of the Second World and that of the Third World, rather than prohibiting the postcolonial inquiry, provides points for analysis that could only enrich and problematise the area of postcolonial studies. Investigating the centuries-old history of European colonisation of its local, European, peripheries can only deepen our understanding of different forms of colonialism.
Through its unique sensibility, which combines the sense of the utterly familiar with the otherworldly, magic realism comments on the irreducible gap between those who exploit space and those who inhabit it. As with many other colonial territories, the cultures of Latin America and East Central Europe have always been perched on the cusp between premodernity and modernity, always strangely arrested in a transformation that they make sure will never be completed. Today, this long-standing tradition of resistance, and the economic and technological handicaps that come with it, is aided by contemporary global hegemonies, which equip the privileged few with unprecedented mobility, while grounding the impoverished locals in ghettos.