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by Peter Hames

Download Dark Alchemy: The Films of Jan Svankmajer fb2, epub

ISBN: 0275952991
Author: Peter Hames
Language: English
Publisher: Praeger (August 15, 1995)
Pages: 208
Category: Humanities
Subcategory: Other
Rating: 4.3
Votes: 418
Size Fb2: 1563 kb
Size ePub: 1929 kb
Size Djvu: 1619 kb
Other formats: mbr txt lrf lit


PETER HAMES is Course Leader in Film, Television, and Radio Studies at Staffordshire University.

PETER HAMES is Course Leader in Film, Television, and Radio Studies at Staffordshire University. He has written widely on Czech and Slovak cinema over many years. He is author of The Czechoslovak New Wave (1985) and contributor to Five Filmmakers: Challenging the Boundaries (1991) and Post New Wave Cinema in the Soviet Union and Eastern Europe (1989). Most of the essays focus on Svankmajer's development as a surrealist and, to a lesser extent, a mannerist.

Goodreads helps you keep track of books you want to read. Start by marking Dark Alchemy: The Films of Jan Švankmajer as Want to Read: Want to Read savin. ant to Read.

Czech animator Jan Svankmajer is one of the most distinctive and influential. Goodreads helps you keep track of books you want to read.

Czech animator Jan Svankmajer is one of the most distinctive and influential of contemporary filmmakers

Czech animator Jan Svankmajer is one of the most distinctive and influential of contemporary filmmakers. Czech animator Jan Svankmajer is one of the most distinctive and influential of contemporary filmmakers

Dark Alchemy : The Films of Jan Svankmajer.

Dark Alchemy : The Films of Jan Svankmajer. Contributions to the Study of Popular Culture.

Peter James was educated at Charterhouse then at film school. He lived in North America for a number of years, working as a screenwriter and film producer before returning to England. He has produced numerous films, including the The Merchant Of Venice, starring Al Pacino, Jeremy Irons and Joseph Fiennes.

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Wallflower Press 2004 Peter Hames: The Velvet Transformation (manuscript, in Reader) Mira Liehm, . Liehm: The Most Important Art: East European Film After 1945. University of California Press, .

MLA. Jodoin-Keaton, Charles.

Volume8, Issue1–2–automne 1997, p. 215–219 Cinéma et mélancolie. MLA. The Films of Jan Svankmajer. Westport : Greenwood Press, 1995, 208 . Cinémas, volume 8, number 1-2, automne 1997, p. 215–219. APA. Jodoin-Keaton, C. (1997).

History & Criticism Film Books. The Cinema of Jan Svankmajer: Dark Alchemy. Professor Peter Hames. This button opens a dialog that displays additional images for this product with the option to zoom in or out. Tell us if something is incorrect.

Peter Hames: Dark Alchemy: The Films of Jan Svankmajer, Praeger Paperback, 1995 .

Peter Hames: Dark Alchemy: The Films of Jan Svankmajer, Praeger Paperback, 1995, ISBN 0-275-95299-1. Peter Hames is an expert on history of Central European cinema. Evašvankmajerjan, Anima Animus Animation, Arbor vitae, 1998, ISBN 801964-4-6 (exhibition catalogue, texts by Jan Švankmajer and Eva Švankmajerová).

Czech animator Jan Svankmajer is one of the most distinctive and influential of contemporary filmmakers. As a leading member of the Prague Surrealist Group, his work is linked to a rich avant-garde tradition and an uncompromising moral stance that brought frequent tensions with the authorities in the normalization years following the Soviet invasion of Czechoslovakia in 1968. Svankmajer's formative influences have been the pre-war surrealists, the Prague of Rudolf II, experimental theatre, folk puppetry and, above all, the political traumas of the past 50 years. Like his contemporaries―including playwright president Vaclav Havel, and, in exile, novelist Milan Kundera and filmmaker Milos Forman―Svankmajer's dominant life experiences have been the realities of the Stalinist system, both the explicit state terror of the 1950s and the Brezhnevist neo-Stalinism of the 1970s and the 1980s.

After training in puppetry and working in the Prague theatre, he made his first film in 1964. He directed a number of important films in the 1960s, including the live-action and Kafkaesque Byt (The Flat, 1968) and Zahrada (The Garden, 1968) and consolidated his international reputation with Moznosti dialogu (Dimensions of Dialogue) in 1982. Since then, he has continued his highly visual and poetic approach in two feature-length films, Neco z Alenky (Alice, 1987) and Lekce Faust (Faust, 1994). As a filmmaker, Svankmajer is constantly exploring and analyzing his concern with power, fear and anxiety, confrontation and destruction, magic, the irrational and the absurd, and displays a bleak outlook on the possibilities for dialogue. In challenging accepted narrative, the bourgeoisie of realism (nezval), and the thematic and formal conventions of the mainstream media, Svankmajer's work is startlingly dynamic, subversive, and confrontational.

Comments:

Gold Crown
Finally reaching a broad audience with his first feature length film, Alice, in 1988 and later with Faust in 1995, this filmmaker has gained his due attention. Dubbed the Animator of Prague, Jan Svankmajer ranks as perhaps the most prominent member of the Czechoslovakian Surrealists.
Peter Hames has studied Svankmajer's art for many years and brought his store of knowledge to bear as editor of this collection of well-written essays. Most of the essays focus on Svankmajer's development as a surrealist and, to a lesser extent, a mannerist. Also, they explore his use of tactile objects and the concepts that undergird their use. For the person exploring the foundations of Svankmajer's art, this book is indispensable.
Hames includes an interview he conducted over several sessions with Svankmajer that is particularly illuminating, especially since English translations of Svankmajer's words are few and far between. Svankmajer speaks candidly about his place in the history of Surreal art, his personal theory of artistic creation, and the state of art in Europe.
One article within the book will challenge even the practiced reader. Frankly, this particular article possesses a density and obscurity that might make better sense if left untranslated.
If you are as fascinated with Svankmajer as I, purchase this book. If you are a casual fan, you might want to explore other sources before buying this one.
Kadar
Finally reaching a broad audience with his first feature length film, Alice, in 1988 and later with Faust in 1995, this filmmaker has gained his due attention. Dubbed the Animator of Prague, Jan Svankmajer ranks as perhaps the most prominent member of the Czechoslovakian Surrealists.
Peter Hames has studied Svankmajer's art for many years and brought his store of knowledge to bear as editor of this collection of well-written essays. Most of the essays focus on Svankmajer's development as a surrealist and, to a lesser extent, a mannerist. Also, they explore his use of tactile objects and the concepts that undergird their use. For the person exploring the foundations of Svankmajer's art, this book is indispensable.
Hames includes an interview he conducted over several sessions with Svankmajer that is particularly illuminating, especially since English translations of Svankmajer's words are few and far between. Svankmajer speaks candidly about his place in the history of Surreal art, his personal theory of artistic creation, and the state of art in Europe.
One article within the book will challenge even the practiced reader. Frankly, this particular article possesses a density and obscurity that might make better sense if left untranslated.
If you are as fascinated with Svankmajer as I, purchase this book. If you are a casual fan, you might want to explore other sources before buying this one.
Shomeshet
Jan Svankmejer is one of the most talented stop motion animation filmmakers currently working. Unfortunately his brilliant films have had only limited release in the United States and little in-depth reading is available on him and his body of work. Dark Alchemy provides some very interesting essays on Svankmejer, the history of Czech film, and surrealism. Those who do not have a film background and a good understanding of surrealism may have difficulty in understanding a lot of what is discussed, much of which would be considered heavy academic reading. The exception being an in-depth interview with Svankmejer. In fact one or two additional interviews with Svankmejer covering some of his specific films in depth might have made for a more well rounded book.

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