Experiments Based on (Industrial) Reality

Interview with Andrea Slováková, who is preparing the section Fascinations for Jihlava IDFF.

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The main topic of the Jihlava IDFF – Factory – is also reflected in films screened in one of the traditional sections, Fascinations. Experimental films, which will screen at the Jihlava IDFF this year, were introduced by their programmer Andrea Slováková.

For many of the viewers, the section Fascinations is one of the most appealing sections of the festival: an opportunity to see visually and sound packed – often times shocking – experimental films on the big screens cannot be found anywhere else in the Czech Republic, only Jihlava. What criteria do you go by when choosing films?

We look for films, which are strongly linked to reality. They work with documentary material. The topics they cover point to everyday stimuli or historical facts, and they experiment with expression. We present films, which apart from being aesthetically pleasing also have a comprehendible message. These criteria are a bit more lenient when it comes to Czech experiments - we like to present different approaches the creators took on the local scene. Since a lot of foreign curators, filmmakers, producers and distributers come to Jihlava, we think it is important that we make these films available to them, draw attention to Czech filmmakers and artists.

Annually the section always has some kind of a retrospective. This year it is a flashback from the industrial environment.  How was it depicted in avant-garde cinematography?

In the time between the wars the industry and factories were gazed upon with an aesthetic fascination: the preciseness, with which the machines worked, their endless movement, the dynamic of work processes emphasized rhythm, geometrical harmony. Symbolically they meant breakthrough, they mirrored important progressive steps in the industrial community.  After the Second World War, they were considered in more of a social and political context. In their depiction an emphasis was put on their relationship to the bigger picture. Then the material was recycled.  A reflection on how the industry was and is currently being depicted.

A lot of creators will introduce their films in the flesh. Who are you looking forward to meeting the most?

Jacques Perconte will come to introduce the world premiere of a film named L. He is a pioneer in net art and new methods of working with digital pictures, and he also cooperated with Leos Carax on the film Holy Motors. I am curious to see the debate concerning his creative methods and also changing technology. Perconte has been experimenting with compressing digital pictures since the 90’s and his insight into technology which is changing filmmaking is something that intrigues me.


Andrea Slováková

Andrea Slováková (1981) studied Media Studies and Film Science at Charles University, as well as Documentary Film at FAMU. From 2003 to March 2011, she worked in the management of the IDFF Jihlava and has been working as the head of publishing activities for the past few years. As a programmer, she continues to prepare the section of experimental documentaries for the festival. She worked as the editor of dok.revue and was the editor-in-chief of the anthology of texts on documentaries called DO. Since 2012, she has been working as the director of the Publishing House for the Academy of Performing Arts in Prague. She filmed the portrait of the mathematician Petr Vopěnka (2006), a film about clouds Oblaka (Clouds, 2007) and a film essay about supervision mechanisms Nadohled (Nearby, 2011)


Translated by Floriana Skorulska and Christina Skorulska





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starší články

4.14DOK.REVUE
13. 10. 2014


from current issue:

New releaseShooting About KunderaDocumentarian Miloslav Šmídmajer describes the process of making a documentary about Milan Kundera with the working title “Milan Kundera: From the Joke to Insignificance.” Miloslav ŠmídmajerThemeNest in the bedroomPeter Hames, well-known British film historian and author of the book The Czechoslovak New Wave sent his remembrance to Karel Vachek to our magazine.Peter HamesThemeNever stop laughingPaolo Benzi, the Italian film producer and founder of the independent film production company Okta Film, describes for dok.revue how he met famous Czech documentary filmmaker Karel Vachek, who passed away last year. Paolo Benzi is also the main tutor of the Emerging producers in Ji.hlava IDFF.Paolo BenziThemeBehold, if the river is turbulent he is not frightenedIn this English issue of dok.revue we have collected some remembrances to Karel Vachek, the respected Czech documentarist who died in December 2020 at the age of 80. One of the contributors is Olaf Möller, a well-known film theorist and critic collaborating with many renowned film magazines (Film Comment or Sight & Sound), film museums and festivals (e.g. Il Cinema Ritrovato or International Film Festival Rotterdam).Olaf MöllerThemeEvery human being should get to wear comfy shoesThe Czech documentarist Karel Vachek was a chairperson of the jury at Yamagata international documentary film festival (YIDFF) in 2009. The board member of YIDFF and the former director of this festival, Asako Fujioka, has a remembrance of him smoking his pipe and going to the mountains with Japanese poet and filmmaker Yoshimasu Gozo to recite poetry to the skies.Asako FujiokaThemeLike the dog on the beach...American film historian Alice Lovejoy writes her remembrance of Karel Vachek, the remarkable Czech documentarist to whom we dedicate this English issue of dok.revue.Alice LovejoySportPandemic as an opportunityJi.hlava's Emerging Producers discuss the opportunity that can emerge from crisisSteve RickinsonInterviewThe times of lifelong careers are overAn interview with documentarian Jindřich Andrš, whose film A New Shift won the Czech competition section Czech Joy at Ji.hlava IDFF2020.Vojtěch KočárníkInterviewGoing to the Polish Turf with Our Own TeamInterview with documentary filmmakers Filip Remunda and Vít Klusák about their latest joint film project Once Upon a Time in Poland that shows how religion and faith are misused in contemporary Poland for mass manipulation and political purposes. The film‘s Czech premiere was held as part of the Ji.hlava International Documentary Film Festival 2020.Kamila BoháčkováIntroductionDok.revue 1.21This issue is dedicated to the doyen of Czech documentary filmmaking Karel VachekKamila Boháčková