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Cultural policy 1945-1947
Brožová, Pavla ; Bednařík, Petr (advisor) ; Kašpar, Lukáš (referee)
Kulturni politika was a magazine published from4th September 1945 to 30th September 1949 by Kruh přátel divadla E. F. Buriana, which was lead by editor-in-chief Emil Frantisek Burian, a well-known theatre artist. The main themes of KP were a culture and politics, the magazine also informed about news from cultural life. Kulturni politika tended to be a left-wing magazine. Most of its opinions were similar to the governments' opinions, especially to the ones with relation to the Communist Party, which was becoming more and more important at that time. The editor-in-chief was a member of the Communist Party and so were some of the members of editorial staff. Many of the articles dealt with Marxism, socialism, etc. Powered by TCPDF (www.tcpdf.org)
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Cultural policy 1945-1947
Brožová, Pavla ; Bednařík, Petr (advisor) ; Kašpar, Lukáš (referee)
Kulturni politika was a magazine published from4th September 1945 to 30th September 1949 by Kruh přátel divadla E. F. Buriana, which was lead by editor-in-chief Emil Frantisek Burian, a well-known theatre artist. The main themes of KP were a culture and politics, the magazine also informed about news from cultural life. Kulturni politika tended to be a left-wing magazine. Most of its opinions were similar to the governments' opinions, especially to the ones with relation to the Communist Party, which was becoming more and more important at that time. The editor-in-chief was a member of the Communist Party and so were some of the members of editorial staff. Many of the articles dealt with Marxism, socialism, etc. Powered by TCPDF (www.tcpdf.org)
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Czech and Austrian feature film 1939-1945: propaganda, collaboration, resistance
Kašpar, Lukáš ; Kuklík, Jan (advisor) ; Kvaček, Robert (referee) ; Harna, Josef (referee)
Anglicke resume Throughout my thesis, I have strived to portrait the feature film production and manifestation of collaboration and resistance in the field of Czech and Austrian feature film as comprehensively as possible. I have attempted to answer the question, whether the Nazis misused this mass media. After the occupation, Czech cinematography was being taken over by the Nazis. There are two main trends in movies prevailing at the time. The first one is stressing the national traditions and expecting that this will be favourably received by the public. The second trend represents an obvious escape of a number of movies, especially conversation comedies. If we look at the emphasis on national traditions in terms of the reaction by cinema audiences or through the eyes of the reaction in the press, their importance seems to be extremely significant. The escape and amusement of movies should be viewed in the context of the intentions of the Nazi propaganda. Then we can say that, it was about much more than an escape from the routine drudgery of the protectorate life, it was also about intentional relaxation, which was supposed to facilitate regeneration of energy necessary for a problem-free functioning of the protectorate. Feature film passed by censorship was in this sense an inseparable part of the...
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I´m Only an Actor
Kašpar, Lukáš ; Císař, Jan (advisor) ; Just, Vladimír (referee) ; Vostrý, Jaroslav (referee)
Throughout my thesis, I will strive to portrait theater acting and manifestation of collaboration and resistance in the field of Czech, Austrian and The German Reich´s theatre (and artin general) as comprehensively as possible. I will attempt to answer the question, whether and how much the Nazis misused this culture area. I cover the activities of theatremakers, filmmakers and plays during 1939-1945, mostly by Nazi propaganda and counter-propaganda by the Allies, I had to know Czech, German and English literature related to the topic, the movies, theatre plays, literature and archive documents related to the activities of domestic makers and emigrants
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