25th Ji.hlava International Documentary Film Festival
Universities and Freedom
synopsisThis documentary film points out new challenges in the inner workings of university education face to face with massification and commercialism influencing both practical and symbolic meanings of education and schooling as such. Talks on these issues are given by a score of personalities, e.g. by sociologist Frank Furedi or linguist Noam Chomsky. The film will be co-screened with Open Fortress. A Q&A session with guests is planned after the screening.
biographyDocumentary filmmakers Vít Janeček (1970) and Zuzana Piussi (1971) are, among others, the authors of the documentary film Peasant Common Sense (2018) revealing methods of Czech PM Andrej Babiš in his agricultural business activities along with their impacts on the country’s landscape.
more about film
|director:||Zuzana Piussi, Vít Janeček|
other films in the section
Most TV viewers see as the most boring such documents, TV journalism and even entertainment formats that focus on political issues. This workshop will present three programs that prove to be the very opposite of boring: The Circus, a Showtime docusoap, following the US presidential campaigns since the first primaries in January 2016; BBC’s An Idiot's Guide to Politics, which reminds politicians of their broken promises; and Channel 4’s Ballot Monkeys, a satirical series, where TV audience watches the British election campaign through the eyes of four MP hopefuls.---Workhop is led by Milan Kruml
Could politics appear attractive on TV?
The exhibition Video Day, the first collective presentation of video art in the Czech lands, took place on June 11, 1989 at Julius Fučík Culture and Relaxation Centre (today’s Prague Exhibition Grounds) as part of the annual presentation of the Czech Association of Visual Artists. The exhibition Video Day 1989/2018 was a reconstruction of the original 1989 exhibition which took place on September 4, 2018. Martin Mazanec as the curator came up with an idea of initiating a debate on historical forms of presentation, but also on potential preservation of moving images. The reasons why video art has been up to now avoided by large numbers of institutions and artists may be illustrated within areas representing the clash between socio-cultural and economic circumstances of the origination and existence of individual works of art. Discussion with invited guests will be accompanied by fragments of works by artists exhibiting back in 1989: Věra Geislerová & René Slauka, Václav Hodan, Roman Milerský, 5D studio (Tomáš Kepka, Michal Pacina, Marta Karoliová), Radek Pilař, Pavel Scheufler, Petr Skala, Lucie Svobodová, Ivan Tatíček and Jaroslav Vančát.
Video Day 1989/2018
Czech Republic / 90 min.
The spoken word plays the main role in this investigative documentary. While the screen remains black, we listen to a conversation between officials and filmmakers who want to shoot a film about lung disease in Sichuan. The audio record exposes the typical strategy of censorship, progressing from false affability to the point of open threats.
China / 2016 / 62 min.
East European Premiere
Preparations for a concert by the Plastic People and Aktual in the village of Suchá by Nejdek. The film records the arrival of the band members, moving the equipment, and setting up the stage, but not the concert itself, which took place in absolute darkness and is seen on the film only as a brief shot of someone breathing fire – one of the many pyrotechnical effects that were a part of the Plastics’ concerts. It is a momentary homage to fire-breather, stage technician, and later the drummer for DG 307, Vladimír Vyšín.
Suchá nearby Nejdek
Czechoslovakia / 1972 / 3 min.
Dramaturge, screenwriter, and director Pavol Sýkora (1931–1970) was a central figure of Slovak documentary film in the 1960s. He worked as a dramaturge on documentary films at Koliba Studios. The selected films represent his most distinctive and original portraits. Besides an inclination for the reconstruction pioneered by Flaherty, Sýkora’s work is characterized by an attempt at achieving a maximum understanding of the subject free of embellishment, academism, and pathos, and without being didactic. The results are deeply felt portraits of man or explorations of inner experience, often without words.---Dílnu vede / The Workshop is led by: Martin Kaňuch
Jan Ságl (*1942) is considered the court photographer of the Czechoslovak underground of the 1960s and ’70s. He also shot a total of 12 short films in 1971-1974. With a Super-8 camera, he photographed and filmed scenes from the underground, including concerts and happenings. Because he was a past of this closed community, his camera and hand-held spotlight had direct access to people and events, allowing him to create a captivating record of the atmosphere of underground culture.---Kurátor programu a autor textů / Curator and author of the texts: Martin Blažíček, FAMU CAS
Scenes from the Underground. The Films of Jan Ságl, 1971–1974
A reading by Egon Bondy at the local pub in Klukovice in November 1974. Bondy reads Invalid Siblings as Ságl’s camera focuses primarily on the faces in the audience. About halfway through the film, there is an improvised acoustic concert by the members of the Plastic People, which transforms the event into a wild party, including Bondy’s own creative dancing.
Czechoslovakia / 1974 / 9 min.
How did people with a different sexual orientation live before the Velvet Revolution? Did they have to hide their true identity? Did they suffer legal prosecution? Former member of the Czechoslovak women’s table tennis team Jana Kociánová, government official František Bloudek, and FAMU graduate Libuše Jarcovjáková (author of a unique series of photographs from Prague’s legendary T-Club) tell their stories.
Stories of the 20th Century: Branded for Life
Czech Republic / 2016 / 26 min.
This graduate project film uses zoom shots delving deep into the landscape to bring images of a smoking chimney and large mining wheel excavators. This portrayal of objects embedded in a landscape gradually being taken over by the army is a colorful visual poem presenting in-depth views of the life of passive nature, which is in sharp contrasting with iconic symbols of civilization.
Czechoslovakia / 1965 / 8 min.
A young prisoner, who wants to escape the fate predestined for her due to her mother’s lack of interest, recalls her childhood and why she ran away from home. The narrative is complemented with poems she started to write when her loved ones did not send her any letters. This portrait delves deep into the experiences of a psychologically wounded young woman.“Sýkora’s portrayal of an individual’s ‘confession’ presents a multidimensional and forceful personal portrait, melding with the director’s attitude in a work reflecting high-quality filmmaking skills, mood and atmosphere, and is obviously linked to the filmmaker’s mentality, which is not lacking in sentimentality.” Pavel Branko
Czechoslovakia / 1968 / 16 min.
An opening reception for an exhibition of jugs by ceramic artist František Maxera is slowly transformed into a wild alcohol-fueled party with an acoustic concert by the members of the Plastic People. Recorded at the U Lojzy pub in Prague’s Vinohrady district.
Jugs of Franz Maxera at Hospoda U Lojzy
Czechoslovakia / 1973 / 9 min.
With almost no commentary, this portrait of a young rural early-grade schoolteacher shows the tenacity of a woman who must battle daily snowdrifts on her skis to reach her job. The filmmaker interweaves shots of mundane tasks in lyrical compositions presenting poetic views of the landscape.“Sýkora’s themes revolve around insignificant people who find themselves in extreme social or psychological situations. In each case, he has grown humanly fond of his protagonists.” Rudolf Urc
Czechoslovakia / 1969 / 16 min.