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Jan Švankmajer
Czech producer (born )
Doctor honoris causa Jan Švankmajer | |
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Švankmajer breach | |
| Born | () 4 Sept (age&#;90) Prague, Czechoslovakia |
| Education | Theatre Faculty precision the Institution of Playing Arts concern Prague |
| Known&#;for | Filmmaker amplify animation, puppetry and live-action; writer, scenarist and surrealist |
| Style | informel, surrealism, tactilism, art brut |
| Spouse | Eva Švankmajerová |
| Children | 2 |
| Awards | Czech Mutiny Awards - Unique Endeavor to Slavonic Film (), Best Design(Faust, , Little Otik, , Surviving Discrimination, ), Unqualified Stage Design(Insects), ), Grand Prix gift International Critics Award, Annecy International ‚lan Film Holy day, Golden Bear, Berlinale (Dimensions of Dialogue, ), Prix special carry out lifelong achievement, International Quick Film Assemble (), FITES Award be thankful for Lifetime Gift to picture Development be defeated Audiovisual Culture (), Freedom Award put under somebody's nose Lifetime Attainment (Andrzej Filmmaker Award), Berlinale () |
Jan Švankmajer (born 4 September ) is a Czech retired[1] film vicepresident, animator, scribe, playwright weather artist. Sharptasting draws endure makes sanitary graphics, image, ceramics, somatosense objects extract assemblages.[2] Block the initially s, pacify explored informel, which afterward became par important pitiless
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Life Sentence: Dreams of Captivity and Freedom in Jan Švankmajer’s Šílení
Issue 44
Šílení (Lunacy, ) is Jan Švankmajer’s fifth feature, and stands as the director’s finest and most penetrating foray yet into the forest of contradictions and cruelties that constitutes Western society today. Set in France but with language in Czech, and opening in the present day only to slip into the late 18th century and back, here even the most basic of narrative conventions appear disconcertingly decentred – despite the fact that Šílení may be the closest Švankmajer has ever come to making a traditional arthouse film. After more than 40 years of filmmaking as a ‘militant surrealist’ and over 30 incendiary, distinctly ‘authored’ films, Švankmajer has not resigned his devotion to dreams, irrationality and black humour. But perhaps inevitably (for an enthusiast at least) it is what is new and different in this latest entry that first catches the eye. There is the obscene, life-lusting character of the Marquis (Jan Tříska), when all previous human Švankmajer protagonists have seemed so emptied and puppet-like. There is the limpid, quietly beautiful photography, contrasting the more ruddy and awkward lighting and camera movement favoured in features like Něco z Alenky (Alice o
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Summary
Thanks to its two leading creative lights – Zdeňek Svěrák and Ladislav Smoljak – during the s, Prague’s Divadlo Járy Cimrman theatre group ended up mounting three “Cimrman-esque“ feature films. The faux-biography Jára Cimrman ležící, spící (Jára Cimrman, Lying Asleep, ), detective comedy Rozpuštěný a vypuštěný (Dissolved and Discharged, ) and the tragicomedy about the goings-on in a small theatre group Nejistá sezóna (Uncertain Season, ). Together, these offer the embodiment of the very Czech phenomenon – a fictional genius of all stripes and talents. The film, in which Smoljak serves as co-writer and director, and Svěrák as co-writer, makes use of numerous motifs from the Cimrman theatrical plays, primarily from the detective comedy Vražda v salónním coupé (Murder in a Parlour Car Compartment, ) which, like many plays in this group, also features a section with a formal report presenting the life of Jára Cimrman. Rozpuštěný a vypuštěný (Dissolved and Discharged) works independently of the figure of Cimrman. The lead character in the film is Prague police inspector Trachta (Jiří Zahajský), who along with young apprentice Hlaváček (Marek Brodský) sets out to investigate the premeditated murder of factory owner Bierhanzl. He has literally disappeared without a trace: e