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31	Vliv českého fašismu na Národní demokracii a její podoby / The Influence of Czech fascism on National Democrats and its Forms Vozňaková, Veronika January 2016 (has links) The purpose of the thesis is to examine the relationships between the Czech fascists and the National Democratic Party in all its forms. The thesis covers the analysis of these relationships and their displays. The author used analytical and comparative methods as well as available specialized literature and other sources. The dissertation is divided into four main chapters. The first chapter analyzes the fascist theory, its main characteristics and, in one of its subchapter, the specific Czech scheme for better understanding of the fascist environment during the First Czechoslovakian Republic era. The second chapter deals with fascists' actions and operation during the First Czechoslovakian Republic era. For important changes that took place in 1938, the political system of the so called "Second Republic" is briefly mentioned, as the political direction was extremely right wing oriented. The third chapter focuses on the National democratic party and analyzes the party's activities up to 1935. For better compression, the Czechoslovak political system is also outlined in this section. Chapter four is the key part of the dissertation as it deals with the relations and cooperation between the Czech fascists and National democracy and cooperation with the National Unity from 1935. To complete the...
32	Playing with the Third Reich: Conceptual Relocation from Nazi Film to WWII Game : An Experiment to measure Filmic concepts in Digital Games Li, Laqi January 2023 (has links) Film produced by Nazi Germany has been a classic that has drawn scholars from a wide range of academic disciplines as well as innumerable cineastes from various cultural backgrounds. The simultaneous rise in the number of players acting as observers and operators in digital games with a WWII theme has drawn recent scholarly attention since it is thought that this pattern is contributing to players' hazy understanding of historical events. In order to close the gap from earlier studies that there is no future perspective for these concepts refined from Nazi films, nor relevance to films in the field of Game Studies, I proposed a new connection between Nazi films and WWII games based on the conceptual relocation of Fascist Aesthetic, Futuristic Utopianism, and Steel-like Romanticism. In this relocation, Fascist Aesthetic has kept its elements from Leni Riefenstahl's propaganda films but expanded to the pursuit of death and violence in the Wolfenstein series (WWII FPS games), Futuristic Utopianism in Piel's science fiction trilogy derived from the passion for technology of the Weimar period, his original designs in the Sci-fi trilogy have proved to be an inspiration for WWII games. In Walter Ruttmann's industrial films, steel-like romanticism was portrayed as a romantic sensation from the production of large-scale, intricate weapons by dedicated German workers to achieve the reactionary modernism, but in WWII simulation games, it evolved into a nostalgia for the weapons built by the Reich. As a result of this change, a trustworthy commemoration of the Third Reich is vanishing from visual culture and its grim past has been changed by simulation. Nazi Germany Propaganda Films Science Fiction Trilogy Industrial Films WWII FPS Games WWII Simulation Games Fascist Aesthetic Futuristic Utopianism Steel-like Romanticism History. Studies on Film Filmvetenskap
33	Italy and the League of Nations : nationalism and internationalism, 1922-1935 Tollardo, Elisabetta January 2014 (has links) This thesis investigates the relationship between Fascist Italy and the League of Nations (LoN) during the interwar period, with a particular focus on the years from 1922 to 1935. This relationship was contradictory, shifting from moments of active collaboration to moments of open disagreement. The existing historiography on the Italian membership of the League has not reflected this oscillation in policy, focusing disproportionally on the crises Italy caused at the League. However, Fascist Italy remained in the League for more than 15 years, ranking as the third-largest power, and was fully engaged in the institution's work. This dissertation investigates the dynamics that developed between Fascist Italy and the LoN through a systematic study of the Italians involved. In so doing, it contributes to the historiography of the LoN and of the Italian foreign policy in the interwar period. The thesis argues that there was more to the Italian membership of the LoN than the Ethiopian crisis. It reveals the extent of the Italian presence and activity in the institution from the beginning, and demonstrates that the organization was more important to the Italian government than previously recognized. Membership of the League was essential to guarantee Italy international legitimation and recognition. Through an active appropriation of internationalism, the Italian government hoped to obtain practical benefits in the colonial sphere. The thesis uncovers the depth and variety of interactions between nationalism and internationalism in the case of Italy and the League, establishing that they did not oppose each other but rather interacted. This dissertation illustrates the complexity of being an Italian working in the League, as well as the grey areas between nationalism and internationalism evident within individual experiences. Finally, it shows the continuity of actors and expertise in Italy's international cooperation between the interwar and the post-1945 period. 945
34	Situace německého obyvatelstva v Teplicích-Šanově v rámci transferu Němců z Československé republiky. / Situation of German population in Teplice-Šanov Regarding the Transfer of Germans from the Czechoslovak Republic. Maříková, Jana January 2014 (has links) This thesis uses archive materials to map the post-war situation of German population in a Czechoslovak district of Teplice-Šanov. Before the war, the German population made for more than 70% of the total population of this borderline area. In 1947 it was only about 7%. In the first months after the end of the war, 27,000 - 34,000 of German nationals were banished from the area. In the following transfers 29,487 were forced out between February and August of 1946. More Germans continued to leave the country after the regular transfers in additional transports up until 1950. Only some specific groups of German speaking inhabitants were permitted to stay in Czechoslovakia - antifascists, Austrians, German experts, people living in mixed marriages, some of the German clergy, and those who were pardoned. In Teplice-Šanov it was a considerably large group of specialists (especially in the field of mining) who remained. The issue of repopulating the regions affected by the expulsion of Germans is also addressed. Settlers from inland, other borderline areas, Slovakia and from abroad came to the Teplice-Šanov district. The total number of newcomers in May 1947 was 47,402. This thesis uses an actual example of one district to illustrate the complexity of post-war situation. The analysis of the stance of...
35	Jan Scheinost. Katolík a fašista, novinář a politik / Jan Scheinost. Catholic and Fascist, Journalist and Politician Klementová, Eliška January 2013 (has links) The aim of the doctoral thesis is an analysis of the ideas and political activities of Jan Scheinost (1896-1964), a journalist and skilful backstage policymaker who was also known as an ideologist of Czech fascism. The thesis presents and analyses primarily those texts and activities of this controversial personality which were somehow unique, typical or atypical for the Czechoslovak political and intellectual scene of the First and Second Republic, i.e. from the 1920s to the period of the Protectorate of Bohemia and Moravia. The influential Catholic journalist Scheinost is often connected not only with conservative traditional Catholicism but also with Fascism in academic literature. However, the thesis tries to prove that throughout his career, Jan Scheinost was always mainly looking for the most suitable movement or political party for putting into practice his aggressive Catholic ideas. At the same time the thesis also follows the historical, cultural and media context in which has Scheinost, as the editor in chief of the daily Lidové listy, acted. Scheinost, as a convinced nationalist and Catholic, joined the Czechoslovak People's Party at the beginning of the 1920s, but this party was not conservative enough for him, and he also felt that it made too many compromises. That is why he...
36	Acting and its refusal in theatre and film. McCurdy, Marian Lea January 2014 (has links) This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself. In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored. acting theatre film refusal theatricality ethical vs aesthetic anti-theatrical prejudice devil seduction fascist spectacle Nietzsche Baudrillard simulation suicide Szabó Fritsch Falkenberg Free Theatre Christchurch Genet Artaud sadomasochistic role-play ritual tango Ang Lee Žižek Warhol happenings reality television von Trier Affleck Abramović
37	Role žen v historii českého punku / Women's Role in the History of Czech Punk Římanová, Jana January 2015 (has links) Diplomová práce zkoumá roli žen v historii českého punku. V úvodní části práce je popsána historie a vývoj punku ve světě. V této části jsou vysvětleny významy pojmu punk jako subkultura (v terminologii pozdějších výzkumů scéna) a punk jako hudební žánr. Popsána jsou specifika ženské punkové módy a stylu. Jsou uvedeny role, ve kterých se ženy v punkové scéně realizují a typické ženské role v hudebních skupinách. Součástí teoretické části práce je stručný popis historie punku na území České republiky a zapojení žen v české punkové scéně. Jako jeden z hlavních zdrojů při vypracování diplomové práce byly využity rozhovory vedené metodou odvozenou od metodologie orální historie. Dílčím cílem práce bylo ověření použitelnosti analytického programu Atlas.ti pro analýzu orálně-historických interview. Tento software byl využit pro analýzu výzkumných rozhovorů. Druhá polovina práce se zabývá interpretací témat obsažených v rozhovorech. Věnuje se specifickým oblastem života v souvislosti s punkovou subkulturou jako jsou důvody, které přivedly ženy k punku, role přátel a vztahů, setkání punkového myšlení s autoritou v podobě rodičů a školy. Dále se práce zabývá transformací punkových názorů v dospělosti ve vztahu k zaměstnání a vlastní rodině. Poslední část interpretace se věnuje ženským rolím, které byly v...
38	Fascisme et antifascisme dans l'immigration italienne en Belgique, 1922-1940 Morelli, Anne January 1984 (has links) Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished Sciences humaines Italians -- History -- Belgium Italians -- Social conditions -- Belgium Italiens -- Histoire -- Belgique
39	Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943) / Cinema and the totalitarian experiment : the laboratory of the war film genre in Fascist Italy (1935-1943) Courriol, Marie-France 10 December 2015 (has links) Cette thèse analyse les films de guerre de fiction produits dans l’Italie fasciste de 1935 à 1943, de la Guerre d’Ethiopie à la fin de la Seconde Guerre mondiale. Elle démontre que le genre de guerre fonctionne comme un laboratoire pour l’entreprise de révolution anthropologique de l’Italie, inhérente à l’expérience totalitaire fasciste. Ce modèle cinématographique et social est en effet célébré comme devant s’étendre à l’ensemble du monde cinématographique italien, et ses caractéristiques à l’écran sont censées fournir l’image d’une société fasciste idéale.Après avoir analysé la mise en place du film de guerre italien dans ses discours, ses institutions et ses circulations internationales, ce travail examine les réponses de la production cinématographique. Il se clôt sur la perception du genre de guerre, ses spectateurs, sa réception et sa publicité. Il montre que les films de guerre de la période forment un lieu où coexistent de nombreux objectifs servant des groupes variés. Reposant en grande partie sur des archives d’Etat et de cinéastes, ce travail se concentre sur des études de cas de producteurs (Scalera, Bassoli Film), de réalisateurs (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis, Augusto Genina, Romolo Marcellini, Roberto Rossellini), de scénaristes (Asvero Gravelli, Gian Gaspare Napolitano) et de réception de films particuliers. Cette étude des réponses multiples aux demandes d’un système totalitaire en formation dans le champ cinématographique entend contribuer au débat historiographique sur l’adhésion populaire au fascisme, en en élargissant les paramètres. En outre, bien que le genre joue un rôle central dans le développement de l’industrie cinématographique nationale, ce travail démontre cependant la nécessité d’interpréter ces films en termes transnationaux et non comme simples produits politiques et nationaux. / This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products. Cinéma italien Histoire du cinéma Fascisme Histoire culturelle du fascisme Politiques cinématographiques Totalitarisme Propagande Genre cinématographique Film de guerre Cinéma colonial Industrie cinématographique Militarisation Guerre et cinéma Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Écriture cinématographique Réception Guerre d’Ethiopie Seconde Guerre mondiale Guerre d’Espagne Critique cinématographique Adhésion populaire Italian cinema Film history Fascism Cultural history of the Fascist period Film policies Totalitarianism Propaganda Film genre War film Colonial cinema Film industry Militarisation War and cinema Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Screenwriting Reception Representation of the First World War Ethiopian war Second World War Spanish Civil War Film criticism Popular consent

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