일상적 현실에 대한 풍자와 비판, 창작수법의 혁신, 체코슬로바키아 영화(1963-1968)

Abstract

This paper explores the Czechoslovakian films from 1963 to 1968, which I call the “innovation of Czechoslovakian cinema” in that they were original and creative. What became the bases for the Czechoslovakian cinema innovation were the political, cultural, and artistic values that emerged in the establishment of “The Socialism with a Human Face.” Among others, what was at the centre of these values was to escape from the existing socialist realism. One thing that became a symbolic, significant beginning point of this work of escaping was the reexamination of Kafka’s work as not being capitalist and decadent. This became a way of overcoming the socialist realism that had not allowed any approach towards everyday realities as well as a cause for the (re)discovery of the Czechoslovakian avant-garde culture and its application into present matters. As a result of them, as this paper will argues, the two key words of “everyday reality” and “avant-garde” came to characterize the Czechoslovakian films of this period. First, the exploration of everyday realities was mainly found in the works of Miloš Forman and Vĕra Chytiloá. This paper shows that their representations of everyday realities not only includes Czechoslovakia’s political and social realities, but also reveals various aspects that were so invisible that they only can be seen throughout laugh and satire and irony. In addition to this, this realist representation of everyday life played an important role in showing the ways in which various, refracted relations both between individuals and between individuals and society in the history of Czechoslovakia, such as anxiety and tension, were caused and exploring how the real and ideal meet together. Second, the paper argues that the reevaluation of Kafka that brought back the tradition of the Czechoslovakian avant-garde culture of the 1920 had a significant impact on the works of Chytilová and Jan Nĕmec; especially, the stream of consciousness, independence of the screen, and destruction of narrative that frequently appeared in their films played an important role in shaping the “innovation of Czechoslovakian cinema”.