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The Czechoslovak New Wave (also Czech New Wave) is a term used for the 1960s films of Czech directors Miloš Forman, František Vláčil, Věra Chytilová, Ivan Passer, Pavel Juráček, Jaroslav Papoušek, Jiří Menzel, Jan Němec, Jaromil Jireš, Vojtěch Jasný, Evald Schorm and Slovak directors Dušan Hanák, Juraj Herz, Juraj Jakubisko, Štefan Uher, Ján Kadár, Elo Havetta and others. The quality and openness of the films led the genre to be called the ''Czechoslovak film miracle''. == Overview == The Czechoslovak New Wave was an artistic movement in cinema which evolved out of the earlier Devětsil movement of the thirties. Disgruntled with the communist regime that had taken over in Czechoslovakia in 1948, students of the Film and TV School of The Academy of Performing Arts in Prague (also known as FAMU) became the dissenters of their time. Their objective in making films was "to make the Czech people collectively aware that they were participants in a system of oppression and incompetence which had brutalized them all."〔Cook 1996: 705〕 Trademarks of the movement are long unscripted dialogues, dark and absurd humour, and the casting of non-professional actors. The films touched on themes which for earlier film makers in the communist countries had rarely managed to avoid the objections of the censor, such as the misguided youths of Czechoslovak society portrayed in Miloš Forman's ''Black Peter'' ((チェコ語:Černý Petr) 1963) and ''Loves of a Blonde'' (''Lásky jedné plavovlásky'' 1965), or those caught in a surrealistic whirlwind in Věra Chytilová's ''Daisies'' (''Sedmikrásky'' 1966) and Jaromil Jireš' ''Valerie and Her Week of Wonders'' (''Valerie a týden divů'' 1970). The Czechoslovak New Wave differed from the French New Wave in that it usually held stronger narratives, and as these directors were the children of a nationalized film industry, they had greater access to studios and state funding. They also tended to present films taken from Czech literature, including Jaromil Jireš' adaptation of Milan Kundera's anti-Communist novel ''The Joke'' (''Žert'' 1969). At the Fourth Congress of the Czechoslovak Writers Union in 1967, Milan Kundera himself described this wave of national cinema as an important part of the history of Czechoslovak literature.〔Cook 1996: 706〕 Forman's ''The Firemen's Ball'' (''Hoří, má panenko'' 1967), another major film of the era, remains a cult film more than four decades after its release. As Alexander Dubček came to power over the Communist Party in Czechoslovakia with plans to present "socialism with a human face" through reform and liberalization (a brief period known as the Prague Spring), the Soviet Union and their Warsaw Pact allies invaded to snuff out reform. The movement came to an abrupt end and Miloš Forman and Jan Němec fled the country, while those who remained faced censorship of their work. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Czechoslovak New Wave」の詳細全文を読む スポンサード リンク
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