For my contextual study, I will be exploring the Czechoslovakian New Wave, delving into the graphic and imaginative depths of a movement that illustrated a rather unconventional counterculture. In my research, I will be looking at the reasons why the movement evolved in the manner it did, by focusing on the social conditions of the time and the cultural impact that this had. I will be looking at the work of, Jaromil Jires, Vera Chytilova and Frantisek Vlacil, analysing their pioneering and iconic texts, such as:
Following the Second World War, Czechoslovakia began to gain international recognition, when director Karel Stekly was awarded the Venice Grand Prix of 1947, for his film 'Sirena'. Within the 1950's, Czechoslovakian cinema predominantly consisted of animated and puppet films, from the likes of Jiri Trnka and Karel Zeman. Therefore, the industry was relatively limited to only a certain, specialised area of filmmaking (HAMES, 2005).
Therefore, the abrupt, rebellious evolution of cinematic accomplishment in 1960's Czechoslovakia, was described at the time, as the 'Czech Film Miracle'. 'The miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers' (OWEN, 2011). The films traversed through fantasy and the depicted a vision of inner life, offering a form of cinema that had been 'liberated from the aesthetic constraints of the previous decade' (OWEN, 2011). Unlike the French and American new wave movements, the Czech equivalent did not disregard certain rules of cinema as drastically as the others. In fact the cinematography appears relatively conventional, without the use of handheld cameras and discontinuity in editing style. However, this visual style can be seen as a method of concealment; by using a rather orthodox pictorial approach, the essence of social critique would have been delivered to viewers in a manner of subtlety.
The official social realist system encouraged the production of grossly distorted representations of actual life and actual history (HAMES 2005). Although a majority of films within the movement were swathed in a shroud of surrealism, the underlying essence depicted the realities of a communist regime. The symbolic elements were carefully depicted in an artistic manner, in an attempt to inconspicuously target those in power. As a result of these indirect illustrations, the productions went unnoticed during the peak of the movement, hence nurturing a counterculture. It wasn't until the depths of the new wave had been reached that the motives of the films were realised and were inevitably banned. The movement was tragically cut short, by the soviet invasion, which ingrained a reestablishment of regularity, hence these films were forbid only to be released following the Velvet Revolution of the late 80's.
Directed by Vera Chytilova, 'Daisies' is an illustration of surrealist cinematography. It encapsulates a subtle sense of social critique, presenting the counterculture of the Czech New Wave movement by showing two female leads that elicit radical disobedience. The film has been considered as a pioneering one in the world of feminist cinema. This combination of feminism and the vibrance of 1960's pop art imagery, is a vigorous exploration of gender identities amidst a somewhat repressive and patriarchal society and was banned almost immediately by the Communist government.
"The overall effect is a dizzying kaleidoscope, as you can suddenly find yourself on a new set, as if by tilting your head" (BITTERNCOURT, 2012)
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The constant fragmentation and alternation of the piece, together with the visual intricacy of Kucera's camerawork, makes it extremely difficult to write about. One could say, it may require a frame-by-frame analysis, in order to determine precisely what is being projected onto the screen. Chytilova's ultimate aim was to allow the spectator to derive their own meaning from the film, Rivette suggested that the two female protagonists are aspects of the same personality. Although this insightful interpretation offers an alternative view point, it holds no real relevance to the film itself. In the same way, there is no psychological link between the two, the only aspect of differentiation is the physical manifestation of each character. The director herself referred to the two female leads with all their creativity and destructiveness, as “two sides of the same coin,” in an interview during the 2002 Prague Film Festival. In addition to this, the fact that they are virtually nameless, opposes the expected conventions of film, where each character is given an identity. The reason behind this may be the fact that the heroine's of the film are unable to find any form of individuality amidst the confines of a very regulated society, hence they act out in a way that is deemed inappropriate. The film itself was banned, and director Chytilova was told she could not work until 1975.
A pivotal scene is the first encounter within the girls room, which effectively illustrates an atmosphere of aimless boredom. We see the two characters are 'ready to be diverted by the slightest event' (HAMES, 2005). Such inattentive conduct, is a direct contrast to the level of expected behaviour during the communist regime, the girls are somewhat a manifestation of protest; by drifting through the film with an evolving sense of carelessness, they perfectly represent an ideal counterculture of the time.
The scenes within the restaurant and nightclub are somewhat more straight forward to decipher, as opposed to those set in the confines of the room. The nightclub scene, includes 'the films first set of coordinated effects' (HAMES, 2005). The use of filters in various exotic hues, corresponds to the ballet-like music and the incorporation of freeze frames, perfectly portrays the fragmented rhythm. This particular technique offers a sense of time manipulation; what seems like an unceasing endeavor, is represented in a rather concise manner.
The scene begins with a wide shot, which introduces the setting and the two female protagonists who are both illumined by a spotlight. This lighting technique is suggestive of the way they crave attention and the fact that they enter through a stage backdoor reinforces their success in gaining acknowledgement from those around them, as they cause disruption from the onset. This introductory shot is a relatively long take; a typical feature of many new waves and a contrasting type of shot from those that were typically used in other genres of cinema at the time. It also acts as a reminder to the audience that they are simply watching a film.
Following this, the rhythm of the sequence is illustrated through the cuts which shift between the two dance performers and the two leads, showing their enjoyment and reaction to the dance. These cuts not only allow the viewer to see the girls indulgence in their surroundings, it also adds a compositional sense of balance. The next shot that returns to the two girls changes from the previous one; from a long shot to a mid shot. This allows the audience a get closer look at the two lead characters, particularly at their disobedient expressions and the way their actions are well coordinated, again suggesting they are simply 'two sides of the same coin'.
The control of mise en scene in terms of lighting and colour, highlights the surreal and experimental essence of the film. The bright hues that wash over the sequence allude to pop art imagery and unlike French and American new wave, show just how the Czech new wave movement did not give as much significance to the use of natural lighting. Such a free editing style is reflective of the loosely structured narrative of the new wave and in this instance, perfectly compliments the vividly augmented events that take place in 'Daisies'.
In the final section of the scene, the colour returns to a more conventional grey tone. As the audience is exposed to this transition from bright to bland, the two girls are escorted out, as a form of punishment for their vulgar indulgence in materialism. This ostentatious display of reckless female behaviour found throughout the film, contradicted the austere constraints that were prominent within such a Communist society. Undoubtedly, the film established great controversy and was promptly prohibited.
Unlike other films in the movement, Jires' '
Valerie and Her Week of Wonders (1970)' was released following the soviet invasion and was not given the same amount of scrutiny as its preceding productions, therefore was not swiftly banned like the others. The film presents numerous parallels and dualities, highlighting the transformation from innocence into adulthood, depicted as some sort of a 'Freudian dreamscape' (SCOVELL, A). In spite of the fairytale-like ambience that is created, the production is saturated in varying Gothic elements; an authentic, yet radical depiction of the original novel, published in 1945. The author and renowned poet Vítzslav Nezval was regarded, in Czechoslovakia, as the leader of the poetic movement in the 1920's and pioneer of the surrealist movement in the 1930's. Therefore, the film is a reflection of Jires' 'brand of poetic sensitivity' (HAMES 2005) and also displays his adaptation of the novel, with his 'deliberate softening of the nightmarish elements of the original text' (HAMES 2005). Nezval's position of respectability as a Communist made it possible for Jires to resurrect the pre-war traditions of Czech art.
The diverse array of motif's, such as the rosary beads, teeth, necklaces and flowers, are only effective through the technique of repetition and not through the process of forceful indication of the imagery. In the same way, although there are repeated references to phallic symbols, they are not presented in an invasive manner, instead they feature as part of settings, unlike many Western representations such as Arthur Penn's '
Bonnie and Clyde' (1967).
Similar to the work of Vera Chytilova,
'Valerie' allows the spectator to develop their own interpretation of the film, by presenting them with the opportunity to combine their understanding with what appears on the screen. However, it certainly does not delve into the same vividly unknown depths as does
'Daisies', it simply works to a precisely conceived aesthetic pattern, both in the careful manipulation of its narrative structure and the composition of individual frames (HAMES 2005). It seems as though the most significant, or noticeable controversial aspect is the portrayal of hypocrisy surrounding Christianity. This is delivered through Valerie's gradual encounter with the world of adulthood and the haunting truths that are exposed to her regarding her family's elaborate sexual history.
The non-diegetic soundtrack, beautifully enhances the picturesque style of the film and is just as enticing as the moving image sequence itself. Such alluring unity between the audio and visual is what provides dynamic to the film, creating an enchanting atmosphere, which exquisitely represents the beguiling content of the film.
Within the final scene of the film, there appearance of various motifs and characters are revisited for the final time, in order to bring about some sort of closure. The use of a shallow depth of field perfectly draws the viewers attention towards Valerie herself as she wonders through the dreamscape setting, observing those that surround her. The high vantage point of the penultimate shot compliments and really enhances the vast capture, in which we are shown various characters from the film dancing in a circle around Valerie's bed. They do so quite theatrically, almost as though they are conducting a celebratory parade of sorts. Perhaps the denouement of the film is in fact a celebration of the fact that Valerie has survived the consuming grip of adulthood and all the temptation of physical desires that come with it.
The final image shows the female protagonist framed in solitude, in the middle of a clearing, delicately placed upon a white, frilled bed, prior to this, we see that all others are now gone. It can be suggested that the concluding frame is indicative towards the fact that Valerie has been able to preserve her innocence and untainted spirit despite the many enticements and horrors of the world that she has experienced. She is able to fall asleep, with some sort of ease equivalent to that of an infant in a cradle. This can be reinforced by the recurring white dove motif, which possibly represents Valerie's pure spirit, the way she is shown to continuously nurture it even during times of difficulty. This motif also holds some biblical significance; in reference to Matthew 3:16 and Luke 3:22, a white dove is known to signify the Holy Spirit, which was declared during the baptism of Jesus Christ.
When observing from a broader perspective, it can be seen that the film itself highlights particular controversies surrounding religion and those who have supposedly respectable roles in the religious hierarchy. In addition, the surreal and rather hypnagogic exploration of sexuality and erotic fantasies were intensely unconventional, particularly in regards to the social context of the time. Contextually, these were all somewhat dangerously sensitive issues to touch upon, however, the surreal composition of all events and occurrences within the film, provided an artistic disguise to cleverly conceal the controversial essence. The priest and vampire-like figure, Tchor elicits authoritative behaviour, perhaps even posing some level of threat or repression. 'Jires leaves it open as to whether these threats are actual (socio-political forces) or psychological' (MARTIN, 2013). Czech audience of the time would have been able to identify that there is some social satire present within the film, however it is clear to see that is has been shrouded in a fantasia of magic and myth. The film itself may be, simply, an illustration of a Czech town, or to some extent of a youthful girl, who is 'liberated through dreams' (MARTIN, 2013).
'The film’s power rests entirely in its magnetic and darkly erotic imagery, which captivates as much as it disturbs' (KHAN, 2015).
The cinematic masterpiece, 'Marketa Lazarova' brings to light various themes and motifs in a vividly beautiful way. The film shows the transition between Paganism and Christianity set in a Medieval bohemia within the 13th century. It has been acknowledged as the greatest Czech film of all time. The somber visual element perfectly captures the bleak and torrid realities of the Middle Ages through the eyes of the common peasant (CLARK). The cinematography itself makes Vlacil's treatment of film more universal, with a familiar and somewhat comforting black and white aesthetic. This is perhaps a result of the directors acquired skills as an art historian, which he entwined in the delicate and precise visual work of the film. The relatively conventional visual and cinematic structure, was not purely used for aesthetic purposes, it can be argued that this was done purposefully, in order to mask the brutally grim truths behind the film. However, it may be suggested that the essence of his work depicted a style that 'owed more to poetry than socialist realism' (MARTIN, 2013).
The introduction features a diverse selection of predator like creatures, both animal and human. This vivid combination consists of a pack of wolves and huntsmen, illustrating a predatory and vicious setting right from the onset. The essence of the plot is foreshadowed by this, as it revolves around two rival clans, the Lazar's and the Kozlik's, alluding to the evolving conflict between Christianity and Paganism. Amidst all of this, the film also follows the unfortunate love, which blossoms between Mikolas Kozlik and Marketa Lazarova.
The most significant and unconventional aspect, particularly found across the Czech new wave films, is the blur of time. It somewhat appears that events do not follow a chronological order, confusing the loose narrative in an almost deliberate attempt to oppose the norms. Often, as one shot transitions into the next, the audience finds themselves in an entirely new setting, which they are brought to light by some vividly experimental visual connections. This is cleverly and conceptually portrayed in 'Marketa Lazarova'.
The opening titles on screen are enhanced by the rather traditional sounding narration, reciting ancient wonders. Following this, the film presents a beautiful landscape, which has been captured and presented with a sense of great cinematic appeal. This injects a traditional feel, complimenting the black and white aesthetic. In contrast to this, the shots of the wolf pack and barren land appears to be somewhat desolate and uninviting and this is really drawn upon by the shots that have been conducted from behind the trees; casting luring shadows upon the subjects, constructing an ambiguous ambience. The narrators voice seems to travel, suggestive of the films unique creativity and of the way sound is utilised in three dimensional space. The narration advances 'from a distant, echoing reverberation to an intimate nearness' (GUNNING, 2013). By further drawing from the familiar, the sequence also makes use of rough panning shots, quickly guiding the viewer to follow the direction of the conversation, as well as hinting towards the more unconventional side of the new wave movement.
'In less than two minutes, Vláčil creates a world tensed with potential violence, interwoven with a harsh natural beauty.' (GUNNING, 2013).
Protagonists of the new wave were often presented as individuals who acted spontaneously or upon impulse and as a result, their actions were seen as immoral, or unconventional. In each of my three chosen texts, it is clear that this is the case; 'Daisies' presents two female leads who lack a social identity and behave in an unsuitable manner, in comparison to those around them. The protagonist Valerie, is exposed to the dark world of adulthood, in which she explores her sexual relationships in some form of a grotesquely erotic fantasia. And finally, in 'Marketa Lazarova', we see that the sequence follows the journey of forbidden love, whilst portraying the result of a gruesome feud between clans.
Overall, it appears that the common thread amongst the tapestry of films, is the portrayal of emotions and desires, which were suppressed in Czechoslovakia at the time. 'The Czech counterculture of the 1960's, bit the iron fist that fed it. The new wave movement was less interested in the exposure of lies than in the assertion of neglected truths' (OWEN, 2011). The vast array of films brought to light the significance of desires, dreams, sexuality, fantasy and has been renowned as the most radically memorable of all cinematic new wave movements.
Bibliography:
Daisies. (1966). [Film] Czechoslovakia: Vera Chytilova.
Valerie and Her Week Of Wonders. (1970). [Film] Czechoslovakia: Jaromil Jires.
Marketa Lazarova. (1967). [Film] Czechoslovakia: Frantisek Vlacil.
HAMES, P. (2005) The Czechoslovak New Wave. Second Edition. London: Wallflower Press.
OWEN, J L. (2011) Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties. New York: Berghahn Books.
MARTIN, S. (2013) New Waves in Cinema. Hertfordshire: Kamera Books.
SCOVELL, A. (2015) Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision. [Online]. Celluloid Wicker Man (Part 1/February). Available From: http://celluloidwickerman.com/2015/02/09/valerie-and-her-week-of-wonders-1970-duality-through-sound-and-vision-part-1/
BITTERNCOURT, E. (2012) 'Daisies'. Slant Magazine. [Online] (July) Available From: http://www.slantmagazine.com/film/review/daisies
RAPOLD, N. (2012) An Audience for Free Spirits in a Closed Society. NYTimes. [Online] (June) Available from: http://www.nytimes.com/2012/07/01/movies/daisies-from-the-czech-director-vera-chytilova-at-bam.html?_r=0
CLARK, M. (2014) The New Wave and Beyond: Czech Cinematic Classics. [Online]. Available from: http://theculturetrip.com/europe/czech-republic/articles/new-wave-and-beyond-czech-cinematic-classics/
HAMES, P. (2000) In The Shadow of The Werewolf. [Online]. Central Europe Review (Vol. 2, No 35). Available from: http://www.ce-review.org/00/35/kinoeye35_hames.html
KHAN, I. (2015) Sexual Horror in Valerie and Her Week of Wonders. Pop Matters (July). [Online] Available From: http://www.popmatters.com/review/195341-sexual-horror-in-valerie-and-her-week-of-wonders/
GUNNING, T. (2013) Cinema of The Wolf: The Mystery of Marketa Lazarova. Criterion. [Online] (June). Available From: https://www.criterion.com/current/posts/2809-cinema-of-the-wolf-the-mystery-of-marketa-lazarova
