{"id":271,"date":"2018-03-08T23:13:03","date_gmt":"2018-03-08T23:13:03","guid":{"rendered":"http:\/\/research.shca.ed.ac.uk\/csmch\/?p=271"},"modified":"2018-03-08T23:15:42","modified_gmt":"2018-03-08T23:15:42","slug":"czechoslovak-new-wave-film-screening","status":"publish","type":"post","link":"http:\/\/research.shca.ed.ac.uk\/csmch\/2018\/03\/08\/czechoslovak-new-wave-film-screening\/","title":{"rendered":"Czechoslovak New Wave film screening series"},"content":{"rendered":"

In honour of the 50th<\/sup> anniversary of the Prague Spring in 1968, the CSMCH put together a Czechoslovak New Wave film screening series. Unfortunately, the poor weather meant that we had to cancel the second of our screenings, but the first one went ahead. Those who braved the snow were treated to a rare screening of the classic film \u2018The Valley of the Bees\u2019 (1967) by director Franti\u0161ek Vl\u00e1\u010dil in the cosy back room of the Brass Monkey pub on Drummond Street. Birgit Ampe was in the audience.\u00a0<\/em><\/p>\n

\"\"
Tereza Valny preparing to introduce the film<\/figcaption><\/figure>\n

The film was introduced by Tereza Valny, Edinburgh’s very own Czech historian. She began her discussion by briefly outlining the political climate of post-war Czechoslovakia. After the Second World War, a communist coup in 1948 had led to the establishment of a communist totalitarian regime. The Communist Party infiltrated not only economic and political structures, but also cultural, religious and social ones. Teresa highlighted the Sokols as an example of this process. The Sokol was a gymnastic organization that had its roots in the 1860s. During the 1950s, the Communist Party tried to replace the gymnastic festivals hosted by the Sokols with mass exercises for propaganda purposes. In that way, they used already existing structures for the spreading of their own ideals.<\/p>\n

But all this started to change in the 1960s. Moscow, the bulwark of communism at that time, realised that the Czechoslovakian economy was deteriorating and it was decided that an economic reform was needed in the country. The reform would only apply to the economy; no other reorganisations were allowed. However, it soon became clear that this was an illusion, as reforms quickly started to take root in many other fields as well.<\/p>\n

Tereza argued that the opening of Czechoslovak society was mainly due to these new reforms, and more specifically the artistic renaissance of the 1960s. This renaissance began in 1963, when the Kafka writers conference was held. Choosing the Prague author Kafka was in itself an act of rebellion because the themes he explored in his work, such as alienation, go against the communist ideals. This conference marked the beginning of a broadening of culture and an artistic revolution in Czechoslovakia.<\/p>\n

The artistic renaissance also had an impact on filmmaking. Teresa recounted how people could go to the cinema and watch films that criticised the system in an covert way. One of these films was \u2018The Valley of the Bees\u2019 by Franti\u0161ek Vl\u00e1\u010dil. Like other directors, Vl\u00e1\u010dil was able to avoid censure by disguising his critique and placing his story in the past. In \u2018The Valley of the Bees\u2019, Vl\u00e1\u010dil explores the inevitability of life crushing the individual, which leaves the entire film in a gloom of impending doom. By examining the strict cloister life in the Middle Ages, he is able to criticise dogmatism within the contemporary communist system.<\/p>\n

The film is set in the 13th<\/sup> century and focuses on Ond\u0159ej. As a boy, he grew up in the castle of his father. The film opens with the marriage between his father and his new wife. Ond\u0159ej plays a cruel trick on the bride, for which his father almost kills him. Out of regret, his father promises to devote his son to God if he survives, which he eventually does. That is how Ond\u0159ej ended up in a religious order. There he meets Armin, who becomes his friend and teacher. However, the strict life is not for everyone and a brother of the order tries to leave. He is captured and fed to the hunting dogs. This event triggers something in Ond\u0159ej and he decides to flee as well. Armin takes it upon himself to bring back Ond\u0159ej. But nothing can convince Ond\u0159ej, who eventually arrives back at his father\u2019s castle. There he learns that his father has died. He becomes the lord of the castle and marries his stepmother. Armin cannot condone this act, so he slits the woman\u2019s throat. As a punishment, Armin is devoured by hunting dogs. But before he dies, he begs Ond\u0159ej to go back to the order. The film ends with Ond\u0159ej eventually returning to the order.<\/p>\n

Birgit Ampe is an Erasmus+ trainee and visiting postgraduate student, who will be based in the CSMCH for three months from March to May 2018. Birgit completed her Bachelor’s and Master’s degree in English Literature from the University of Ghent in Belgium. During her stay at the Centre, she will be helping to manage some of the administrative tasks, as well as pursuing her own research on colonial soldiers during World War One using archival collections in the National Library of Scotland. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

In honour of the 50th anniversary of the Prague Spring in 1968, the CSMCH put together a Czechoslovak New Wave film screening series. Unfortunately, the poor weather meant that we had to cancel the second of our screenings, but the first one went ahead. Those who braved the snow were treated to a rare screening … Continue reading Czechoslovak New Wave film screening series<\/span><\/a><\/p>\n","protected":false},"author":14,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-271","post","type-post","status-publish","format-standard","hentry","category-events"],"_links":{"self":[{"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/posts\/271","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/comments?post=271"}],"version-history":[{"count":5,"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/posts\/271\/revisions"}],"predecessor-version":[{"id":281,"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/posts\/271\/revisions\/281"}],"wp:attachment":[{"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/media?parent=271"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/categories?post=271"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/research.shca.ed.ac.uk\/csmch\/wp-json\/wp\/v2\/tags?post=271"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}