Czech New Wave

Display Schedule

Code Completion Credits Range Language Instruction Semester
311CNW ZK 3 4h/W English winter

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

The aim of the course is to cover the most important period in the history of than Czechoslovak Cinema, so-called Czechoslovak New Wave, and explain all the external conditions that enable its genesis.

Course Learning Objectives: By the end of the course the student will

•understand the specificity of Czechoslovak New Wave movement, as well as its international connections;

•be able to define New Wave;

•be able to explain why it occured in the specific historical epoch;

•be able to analyse the New Wave films and understand their historical/cultural references.

Mode of study

Series of lectures. Students are welcome to participate actively and ask questions during the classes.

Prerequisites and co-requisites

Willingness to read, think, speak, write and learn about Czech cinema is the only prerequisite.

Course contents

Class Attendance/Participation: I expect students to attend all classes (including screenings). If a student is sick or has another duty (e.g. needs to be present on the shooting), s/he needs to apologize to the professor ahead, otherwise the absence is treated as unexcued. In case of an absence, a student will watch the film on his/her own. A student with more than 3 unexcused absences will fail the course. A student with the extensive absences, i.e. five and more (whether excused or unexcused) will be asked to do an extra work for the class and may fail the course if s/he does not fulfill the extra assignment.

Participation to class discussion will be taken into account in the final grade. Participation means a meaningful contribution in the classroom, utilizing the resources and materials presented to students as part of the course. Students are required to actively, meaningfully and thoughtfully contribute to class discussions and all types of in-class activities throughout the duration of the class. Meaningful contribution requires students to be prepared, as directed, in advance of each class session. Particularly, students will read the text(s) required for each lesson and will come to the class prepared with an excerpt from the text and comments how it refers to the film seen. All students will be ready to discuss the readings in the class. Lively discussion is expected.

Students are expected to ask clarification questions if they cannot follow the instructor’s or other students’ line of thought or argumentation.

The use of electronic devices is not allowed unless it is explicitely required by the professor (that may happen in some specific situations). Students are expected to take notes by hand unless the student is entitled to the use of computer due to his/her academic accommodations. In such cases the student is required to prove the need. If a student is seen by a professor using any electronic device regardless the explicit ban, s/he will get the “Warning.” If the situation occurs again, a student will get a worse grade automatically (i.e.

B instead of A, C instead of B, etc.). The third occurence leads to the failing from the course.

Presentation: Around half of the class time (i.e. 45 minutes) will be devoted to discussion. We will discuss the film and the reading(s) that are assigned for that very day. While all the students will be familiar with the film and the reading(s), one student will have a special task to be a “leader of discussion”. S/he will prepare the handout for each student that will include the close analysis of the film based on the reading (not exclusively, student may add whatever else s/he will find important for understanding the film) OR the presentation (using Powerpoint, Prezi or any other tools). The handout/presentation will include AT LEAST 5 questions for class. Those questions should be rather complicated, can be even controversial, encouraging the students to think about the film more intensively (not “Did you like the film?). Since everybody in class will be prepared, the “leader” will encourage all students to talk. The student's presentation will last around 45 minutes.

The handout/presentation should NOT include the factual information as is the names of the cast and crew (with exception of director and DP when relevant), the number of awards and prices the film get, the names of the production/distibution companies assocated with the film, the titles of the director’s other films etc, unless it is particularly relevant. You should instead focus on YOUR OWN analysis and/or interpretation of the film (with the help of readings assigned) and perhaps also on the additional reviews/analysis of that film available at Internet.

!! Send me the handout or presentation at least 24 hours before the class begins! !!

A student will not write a midterm essay on film s/he has a presentation on.

Midterm essay: An analysis of a chosen Czechoslovak New Wave film, or a comparison of a Czechoslovak New Wave film with any other, regardless the period or country of origin. The in-class presentation (March-30) is the part of the assignment and makes 10 % of a grade. One class will be partially devoted to the discussion about the essay and the specifics that the professor requires. Essay will have 1.400 words (about 5 pages double-spaced) minimum. Plagiarism is unacceptable, and if any part of the assignment is plagiarized you will receive a failing grade for the essay and may fail from the overall course. Late submission of the essay will result in an automatic fail on the assignment. Due: Apr 06, midnight

A student will not write a midterm essay on film s/he has a presentation on.

Final test: Test on the material covered in the course, 5 questions, each for 5% of the grade. In one lesson we will together summarize what we have learnt and what possibly may occur in the final test. Will be written: May 18

Recommended or required reading




Burch, Noel. Theory of Film Practice. Princeton University Press, 1981.

Hames, Peter. Ed. The Cinema of Central Europe. London and NYC: Wallflower, 2004.

Hames, Peter. The Czechoslovak New Wave. London, New York: Wallflower Press, 2005.

Hanáková, Petra. “Voices from the Other World: Feminine Space and Masculine Intrusion in Sedmikrásky and Vražda Ing. Čerta” In East European Cinemas, edited by Aniko Imré, Taylor and Francis: 2005, 83-96.

Nahodilová, Jana. Sex in the City.

Shaviro, Steven. The Joke.

Lim, Bliss Cua. “Dolls in Fragments: Daisies as Feminist Allegory.” Camera Obscura 16.2 (2001): 36–77.

Mazierska, Ewa. Masculinities in Polish, Czech and Slovak Cinema: Black Peters and men of marble. New York: Berghahn Books, 2008.

Monaco, James. The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. Oxford: Oxford University Press, 1977.

Owen, Jonathan. “Slovak bohemians: revolution, counterculture and the end of the sixties in Juraj Jakubisko’s films.” Studies in Eastern European Cinema 1.1 (2010): 17-28.

Schofield, Adam. “A Black Pearl of the Deep: Juraj Herz’s Cremator”. Senses of Cinema, No. 43 (May 2007). Used to be available (not anymore!) at

(all readings will be available in the electronic version)

Assessment methods and criteria

The final grade will be calculated as follows: Class Attendance and Participation (25%); presentation (25%); midterm essay (25%); final test (25%)



Schedule for winter semester 2020/2021:

room 207
Room No. 2

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Mon 15:40–17:15 Petra DOMINKOVÁ Room No. 2
Lažanský palác
online lecture parallel1

Schedule for summer semester 2020/2021:

The schedule has not yet been prepared

The subject is a part of the following study plans