Whatever may come of her ,
, Kozlík motioned for silence. We went closer. It moved away, and we went after it. Below the hillside there was a bare plain. Grass, stones, lichen ? This valley was more wretched than a cemetery. Bones, limbs, a thousand antlers on white skulls. He stood alone in the middle. Defeated, alone. Alone. Kozlík whispered
, This essay was written within the project
, Theme and Tradition, p.3, 2009.
, Ost?e sledované filmy (Praha: Národní filmový archiv, p.218, 2001.
, As the film scholar Peter Hames puts it, the aim is to "... recreate the immediacy of a novel where 'the whole' remains hidden, The Cinema of Central Europe, p.158, 2004.
, For the sake of brevity, I am forced to exclude an analysis of the wider figural and thematic creations in the cinema of Vlá?il, and to merely list them here: the world as ruin, inclusion/exclusion at the borders of nature and culture, three functions of animals (domestic, equal/liminal, wild), The Companion Species Manifesto: Dogs, People, and Significant Others, p.5, 2003.
, Franti?ek Vlá?il, the director, doesn't put it this way of course, and while he talks about wanting to make a movie that is as if from another time and about how he wanted to understand a medieval experience in seeing. The filmmaker also acknowledges how problematic this is, since there is little to no evidence about how people would have lived six or seven centuries ago in Bohemia, pp.215-216
, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, 1990.
URL : https://hal.archives-ouvertes.fr/hal-01423755
, Animal Spirits -Philosomorphism and the Background Revolts of Cinema, This proximity between cinema and animating spectrality has been noted by a number of mostly Deleuzian authors, vol.18, pp.11-29, 2013.
Trois (re)découvertes à ne pas manquer, vol.25, p.49, 2013. ,
Animism and the Performative Realist Cinema of Apichatpong Weerasethakul, Screening Nature: Cinema Beyond the Human, p.91, 2013. ,
Animals in Medieval Perceptions: The Image of the Ubiquitous Other, Animals and Human Society: Changing Perspectives, pp.59-80, 1994. ,
L'iconodulie cinématographique ou la nouvelle offrande du monde (à propos de Cinéma 1 et 2 de Gilles Deleuze), Cinémas, vol.16, issue.2, p.185, 2006. ,
A Global Cinematic Zone of Animal and Technology, Angelaki: Journal of the Theoretical Humanities, vol.18, issue.1, p.139, 2013. ,
Sovereign Power and Bare Life, p.105, 1998. ,
, , p.105
, , p.105
, Cannibal Metaphysics, trans. Peter Skafish, p.205, 2014.
The Beech and the Palm Tree: Fichte's Wissenschaftslehre as a Project of ,
, A Thousand Plateaus:Capitalism and Schizophrenia, trans. Brian Massuim, p.267, 1987.
, , p.380
, We don't see any other people living in the area except for the clans and their people, implying perhaps that during winter all humans come together and spread out only with spring
, At the time allegedly Václav I. or P?emysl Otakar II., as would have become apparent in unfilmed segments of this movie, pp.218-219
, , pp.351-423
, Women, the Body and Primitive Accumulation, 2004.
Dialectic of Enlightenment, trans, 2007. ,
, , p.164
, , p.360
The Movement-Image, p.84, 1997. ,
, As a student, he also undertook an exercise in which he drew Sergei Eisenstein's Bronenosets Potemkin (The Battleship Potemkin, 1926) frame by frame, vol.151