Titlebook: Subversive Adaptations; Czech Literature on Petr Bubeníček Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 adaptation.Czech

全国性

Introduction,15-year period from 1954 to 1969. It is explained that this particular chunk of history was selected not only because of its signal value for Czechoslovak cinema in general, but also because it has, until now, remained shrouded in many myths and much misinformation, which the present study hopes to

处理

Adaptation as Subterfuge: ,,ntrolled culture were expected to work tirelessly toward promoting Communist values. Václav Krška adapted the book of the modernist author Fráňa Šrámek, . (., 1910). When the film was released, it was something of a revelation; it touched upon themes of individuality and subjectivity that the litera

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破裂

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Adaptation as a Reflection of the Zeitgeist,l was published, it caused a sensation because its narrative depicts Czechoslovakia in the 1950s and 1960s unfavorably. In the adaptation, the subversive interpretation of historical events unfolds openly within the film’s narrative rather than being hidden in symbols and subtexts. The adaptation st

octogenarian

Book 2017s Verne. (Zeman 1958), .Marketa Lazarová .(Vláčil 1967), and .The Joke. (Jireš 1969). Bubeníček treats a historically significant period around which myths and misinformation have arisen. The book is broad in scope and examines aesthetic, political, social, and cultural issues. It sets out to dispro

纵欲

biopsy

Adaptation as Subterfuge: ,,ry and cinematic socialist realism of the time had expressly excluded from its program. However, there was more to Krška’s . (1954) than the picturesque depiction of fragile youth and nostalgia for years past. Analyzing the adaptation process reveals a successful subterfuge aimed at the contemporary guardians of heterosexual values.

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Adaptation as Play: The Worlds of Jules Verne Come Alive,ngers of uncontrolled technological progress. . (1966) also treats other serious topics, such as how easily reality can be distorted through the media and the corruption of state police forces, but the overwhelmingly parodic and slapstick style of the adaptation somewhat obscures them.

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