The main figures of the Czech new wave

He worked in textile, photo retouching, live recording and fashion modeling, and entered FAMU Film Academy with other Czech new waves in the late 1950s. Her graduation work "Roof" (Strop, 196 1) was allowed to be released in China at the same time as her second work "A Bag of Fleas" (Pytel blech, 1962). Two short films-her first feature film is "Something else" (O necem jinem,1963)-are deeply influenced by the real film genres in France and the United States, using documentary narrative techniques. Although her early works contain a lot of radical contents, they are pale and powerless compared with those innovative techniques in her second feature film, Daisy (1966). This film is a fragmented and dazzling surreal description of two empty and indulgent young women and their strange behavior. The abstract collage and expressionism used in this film reveal Sitielova's potential as a bold artistic innovator and film subversive. After the completion of Daisy, it was immediately banned by the authorities until it was released in 1967, which was applauded by critics all over the world. Sitielova's name immediately became synonymous with the Czech new wave, which was a concept put forward by her in a later film, Ovo ce Stromi Rajskychime (1969), and it was also very special. 1968 After the Soviet government overthrew the dubcek regime in August, Sitiyelova was forbidden to make films. After 1975 was released, she returned to film work through Hra o jablko, 1976), and she is still shooting in the Czech Republic. ( 1932-)

The most internationally renowned director born from the Czech new wave is milos forman. He was orphaned during the Nazi occupation and raised by his uncle until he was admitted to the scriptwriting department of FAMU film students (because he was admitted to the drama department). 1957 after graduation, he stayed in the Czech film industry for many years, until his first films "Konkurs" and "Kdyty Muziky Nebily" were released with the title of competition, and the silence was broken. Foreman's unique style-a mixture of black humor and strict examination of daily life-showed its advantages from an early age. These iconic styles are shown in his first truly cinematic feature film cerny Peter (1963), which satirizes class struggle and is shot by real life and amateur actors. Black Peter won the prize of Czech Film Critics Association, and Lasky Jadene Plavov Lasky (1965), nominated for the best foreign language film at the Academy Awards in 1965, won international praise. As a bittersweet behavioral research text about loneliness and desire, Love with Goldilocks was quickly recognized as a model of the Czech new wave, and won worldwide support because of its kind and meticulous description of the lives of characters who at first glance are unique but generally represent society. Foreman's next movie is Fireman's Ball (Ye, Mapanenko! , 1967), whose undisguised satire on the Czech authorities made it temporarily banned by President novotny. Fireman's Ball, as Foreman's last work in Czechoslovakia, was also nominated for an Oscar. 1968 After the Russian tanks entered Prague, he was forced to leave Czechoslovakia for the United States. Since then, he has lived in the United States and filmed many well-known works, such as Departure, Leaping to the Madhouse, Jazz Age, Requiem and the recent Man on the Moon. ( 1926-)

Different from the new wave movement in other countries, the Czech new wave has not abandoned the film tradition and style of its predecessors. On the contrary, the Czech miracle absorbed and included the contributions of these former directors. One of the veterans who innovated in film technology and became the pillar of the new wave is vojtech jasny. As the backbone of the second generation of Czech directors (1956, the film force born after thawing), Jasny is regarded as the first film writer in the Czech Republic and the first director to explore the unique film language in the Czech Republic. Jasney's most breakthrough work, Zarijove Noci, 1957), is a bold and direct accusation against the army excused by the defense minister. The latter work, Desire (Tuha, 1958), is a movie poem about the parallel narration of seasons and life. Desire reawakened the lyrical style of Czech films that had been suppressed by Soviet socialist realism for a long time. Although Jasny was the forerunner of the Czech film miracle generation, he immediately became a participant. In his highly stylized The Cat Az Prijde Kocouraka (1963), Jasny deviated from the official neo-Stalin aesthetic regulations, skillfully combined political fables with modern fairy tales, and won the special jury award at Cannes Film Festival, which became the catalyst for the germination of a new Czech wave. Yasini's other film, My Hometown (1968), won the recognition (Best Director Award) at Cannes Film Festival and was recognized as the most representative work in his personal career. At the end of the new wave in Czech Republic, this work My Folks is a sad song dedicated to Morowan aborigines who experienced social transformation with Jasny after the war. (1935-200 1 year)

Yalomir Niels entered the Czech film industry with his FAMU graduation work Salztracenych Kroku (1958), which was bold in politics and form, and quickly made himself an important rising star. Nevertheless, it is his other work Scream (Krik, 1963, also known as The First Scream) that really pushes Niels to the forefront of Czechoslovakia movies. As one of the earliest films showing the arrival of new Czechoslovakia films (including Slnko v sieti of Ur, 1962) and One Chem Jinem of Sitielova (1963), Crying tells the touching story of a young couple and their children in a complicated way, with no obvious time sequence. Although there are cunning political hints and ways to deviate from the theme of socialist realism, the Czech authorities are busy dealing with the radical behavior of Niels' peers, so they don't take this film seriously; In fact, it highly praised the film and regarded it as a typical example of promoting the active popularization of film production. Niels was very uncomfortable with this evaluation and began to talk about politics with great interest in his later script writing. The image of fortitude and intransigence made Niels's plays repeatedly shot by the party and government inspection organs; Although he is still very active in the Czech film industry, he was banned from making feature films for four years. The short democratization process advocated by the dubcek regime made Niels return to work and made a film critical of realism-Joke, which was adapted from Milan Kundera's novel severely criticizing Stalin's regime. Although the joke was full of gunpowder (the film was erased from the official biography published many years later), fortunately Niels was the only Czech new wave cadre who was still allowed to make movies in the years of Russian invasion in August 1968 and subsequent normalization. His next work, Valerie a tyden divu, 1970, is a surreal vampire story with photos, and Niels returns to poetic video style. Niels continued filming in Czech Republic until his death in 2006 10+0. Ján Kadár (1918-1979)&; Elma Kohloss (19 10- 1993)

Although the co-production career of Ján Kadár and Elma Kohloss began long before the birth of the new wave, they are still regarded as a force in this movement because of their critical and innovative works in the 1950s and 1960s. Cadal's first feature film Kateka (1950) is a benign story about a rural girl who becomes a factory worker. Because the theme is controversial on the surface, it makes. It was regarded as a bourgeois work and expelled Cadal from the Slovak film industry. Then Cadal came to the Czech film studio to look for a job. It was there that he met Elma Kohloss, a veteran of the Czech film industry, and began their cooperation experience of 17 years. Their first work, UNOS, also known as Kidnapped (1952), was obviously anti-bourgeois, but the authorities still accused the film of bourgeois liberalization, and it was not until the intervention of legendary Soviet director pudovkin that the film was thawed. Their second work "Music from Mars" (Hudba z Marsu, 1954) is a musical comedy, but the official comments think that the film is suspected of alluding to social dignitaries. The house at the terminal (Dum na konecne, 1957) escaped the scrutiny of the authorities, while the three wishes (Tri Prani, 1958) were banned by the authorities and suspended for two years. The next two years turned into five years, until 1963, when they filmed Smrt si rika Engelchen, which tells the story of guerrilla warfare, and then the film Defender (1964), which criticized Stalinism, and the film that won them international acclaim was Obchod Nakor. On the surface, Shop on the Street tells the story of the persecution of Jews in Slovakia during the fascist period. Further study can arouse all Europeans' sense of responsibility about forming and consolidating political persecution. The last film they collaborated on, Touha zvana Anada, 1969), is a complex film about fantasy and sexual degeneration in form and structure. Cadal immigrated to the United States in 1970, where he finished his last two works, The Angel Levin (1970). ( 1938-)

Jesse menzel graduated from FAMU Film Academy. After working as an assistant for Sitielova for many years and acting in evald schorm's films, he made a film called The Death of Mr. balthasar, which was adapted from the collection of short stories by Czech writer bohumil hrabal (Perlicky na dne, 1965). "Smrt pana Baltazara" stands out from five short stories and is appreciated by many people, which makes the director naturally attract people's attention. Menzel's first feature film, Oster Sladovan Flachi (1966), made him famous. This film, adapted from Hrabal's novel of the same name, is recognized as the work of Czech New Wave because of its artistic synthesis of comedy, tragedy and daily life. This bittersweet story about a generation who grew up after World War II won international praise and won the Oscar for Best Foreign Language Film in 1967. The tragic and sympathetic examination in The Train, which has attracted much attention, is also reflected in his later work Rhodes Marnet Leto (1967). Menzel's musical Zlosin v Santanu (1968) caused quite a stir in Czechoslovakia. Menzel then made another film, Skriwan West Naniti (1969), which was adapted from Hrabal's novel and was banned by the authorities. Therefore, menzel was forbidden to make films until 1976, when "Nashamot Ulesa" was released. In the past 25 years, menzel has been active in the film and drama stage in Prague. ( 1936-)

Jan Nemec, known as the terrible child in the Czech new wave, is also a subversive and bold experimenter who broke his father's family when he was studying in FAMU. His first novel, Diamond at Night (1964), tells the story of two children who escaped from Nazi death camps during World War II, which left a deep impression on people. Although the film is a cruel realistic story, it turns into a thrilling journey through the subjective experience of two boys in the hands of Nemec, and awakens their despair and pain through a series of fantasies and nightmares. This film won many international awards, which laid a good foundation for Nemec's next film, O slavnosti a hostech (1966). This is his first sincere cooperation with his successor Esther Krubazhova (designer and artistic director). The report adopted a completely opposite realistic approach to milos forman, and described a Kafka fable about the interaction between people and the ideological compromise of the ruling class with a highly stylized attitude of original sin. This movie is probably the most dangerous movie in politics in the new wave, which was immediately banned and publicly criticized by censors. Like Daisy in Sitielova, this report became an excuse to denounce the new Czech wave at the Czech national rally in May 1967. After dubcek came to power in 8 1 month, this film was released after the release of the surreal film Mucednici lasky (1967) by Nemec and Kruba Zuowa. After the Soviet Union invaded Czechoslovakia, Nemec's list topped the blacklist. Nemec finally left his native land and made TV documentaries for Germany, Germany and the United States in the 1970s and 1980s, until 1989 returned to the Czech Republic to continue his film career. (193 1 year-1988)

Ivan Shem is often called the conscience of the new wave. He avoided the formal styles of Sitielova and eells and the daily documentaries of Foreman and menzel, but made traditional drama films with obvious political content. Schom graduated from FAMU in 1962, and his first feature film was Odvahu pro vsedni den in 1964. A politically inflammatory story about the collapse of young proletarian cadres under the oppression of the system also shows Shom's strong moralism tendency of not being afraid of sensitive topics (Ludwig Bacovsky was dismissed for refusing to criticize the film. "Courage Every Day" won the Czech Film Critics Association Award with 1965(Schom refused to accept it) and was finally released, but the premise was that there could be no public publicity and advertisements during the release period, which doomed the box office failure of the film. Som's next film, Navrat Ztresnejo Sinar (1966), is regarded as his personal masterpiece and one of the best films in the Czech Republic in the 1960s. The film tells the story of a man: the existing social norms determine his moral evil, and his unintentional compromise puts him in a mental prison. Then Shom filmed an obscure work, which was adapted from Petholek Nakrku (1967), an adult girl novel, and Konec farare, a religious satire novel. 1968), Xie Mi Deng, Somano, 1969), was permanently banned by the Czech authorities in 1970, and Schom was banned from filming. Shortly before his death, this right was restored in the late1980s. ( 1930- 1993)

Stefan uher's first work, "My z deviatej, 196 1+0", is a film about children. This film is highly stylized and unconventional, but Uher's next film, the breakthrough Sunshine in the Net, is a great progress. Sunshine in the Net is generally regarded as the pioneering work of the Czech new wave and a great innovation that has changed the face of Czechoslovakia movies forever. In describing the daily life of young people trying to change their living conditions, Wussel obviously deviated from the orthodox socialist realism and created a film with radical structure and high subjectivity, which focused on the extremely personal events maintained for many years, rather than the construction of a socialist society. The film was criticized as anti-socialism and was banned in Bratislava (a city in south-central Czechoslovakia), but in 1963, a group of Czech film critics organized a celebration screening in Prague, and then overwhelmingly affirmed its artistic value. After winning the support of this comment, "Sunshine in the Net" became a symbol of the subversive frenzy of Czechoslovakia's film industry. Woother continued his iconic surrealism in a series of films, including Organ (1963), The Extraordinary Virgin (Panna zazracnica, 1966) and Three Daughters (Tri dcery, 1967). Unlike his contemporaries, Wooser was allowed to direct films in Czechoslovakia throughout the 1970s and continued until the 1980s.