Ur\u010deno k v\u00fduce d\u011bjepisu ve vy\u0161\u0161\u00edch ro\u010dn\u00edc\u00edch gymn\u00e1zi\u00ed, vhodn\u00e9 p\u0159edev\u0161\u00edm k za\u0159azen\u00ed v d\u011bjepisn\u00e9m nebo spole\u010denskov\u011bdn\u00edm semin\u00e1\u0159i.<\/p>\n\n\n\n
Mnoz\u00ed kulturologov\u00e9 a sociologov\u00e9 ch\u00e1pou na\u0161i kulturu p\u0159edev\u0161\u00edm jako kulturu vizu\u00e1ln\u00ed. Skrze obraz p\u0159ij\u00edm\u00e1me nejv\u011bt\u0161\u00ed mno\u017estv\u00ed informac\u00ed, vn\u00edm\u00e1n\u00ed obrazov\u00fdch sd\u011blen\u00ed je d\u016fle\u017eitou sou\u010d\u00e1st\u00ed vyu\u010dovac\u00edho procesu. P\u0159edm\u011bt d\u011bjepis, tak, jak jej zav\u00e1d\u00ed RVP, nab\u00edz\u00ed prostor k vyu\u017eit\u00ed film\u016f jako vizu\u00e1ln\u00edch dopl\u0148k\u016f k narativn\u00ed \u010d\u00e1sti v\u00fduky. V tomto \u010dl\u00e1nku se dotkneme problematiky vyu\u017eit\u00ed hran\u00fdch sn\u00edmk\u016f ve v\u00fduce d\u011bjepisu, stranou ponech\u00e1me filmy dokument\u00e1rn\u00ed.<\/p>\n\n\n\n
Nejprve n\u011bkolik \u00favodn\u00edch pozn\u00e1mek k za\u010dlen\u011bn\u00ed hran\u00fdch film\u016f do v\u00fduky d\u011bjepisu. Hran\u00e9 sn\u00edmky jsou v\u011bt\u0161inou dlouhometr\u00e1\u017en\u00ed, tj. jejich minim\u00e1ln\u00ed d\u00e9lka se pohybuje kolem devades\u00e1ti minut, ale mohou dosahovat i dvojn\u00e1sobn\u00e9 minutov\u00e9 stop\u00e1\u017ee. To samoz\u0159ejm\u011b m\u016f\u017ee b\u00fdt problematick\u00e9 p\u0159i vyu\u017eit\u00ed ve v\u00fduce, nebo\u0165 celove\u010dern\u00ed film vy\u017eaduje minim\u00e1ln\u011b spojenou dvouhodinu. Naprosto souhlas\u00edm s Jimem Jarmuschem, kter\u00fd pronesl, \u017ee film je p\u0159eru\u0161ov\u00e1n\u00edm devalvov\u00e1n, nebo\u0165 tempo mus\u00edme ch\u00e1pat jako jeho integr\u00e1ln\u00ed sou\u010d\u00e1st. Kouskov\u00e1n\u00edm filmu se nabour\u00e1 jeho narativum. Proto vol\u00edm k prom\u00edt\u00e1n\u00ed celove\u010dern\u00edch d\u011bl spojenou dvouhodinu Semin\u00e1\u0159e z d\u011bjepisu<\/em>, kde je \u0161ance, \u017ee \u017e\u00e1ci shl\u00e9dnou film bez zbyte\u010dn\u00e9ho p\u0159eru\u0161ov\u00e1n\u00ed.<\/p>\n\n\n\n Druh\u00e1 metodologick\u00e1 pozn\u00e1mka se t\u00fdk\u00e1 v\u00fdpov\u011bdn\u00ed hodnoty filmu, jeho objektivity ve vztahu k historick\u00fdm re\u00e1li\u00edm. Je samoz\u0159ejm\u00e9, \u017ee ka\u017ed\u00e9 um\u011bleck\u00e9 d\u00edlo p\u0159edstavuje iluzivn\u00ed sv\u011bt. Film je v\u00fdsostn\u00fdm iluzivn\u00edm um\u011bn\u00edm, deskripci historick\u00fdch d\u011bj\u016f je nutno ch\u00e1pat jako autorskou tv\u016fr\u010d\u00ed licenci, kter\u00e1 ov\u0161em nemus\u00ed b\u00fdt p\u0159\u00edli\u0161 vzd\u00e1lena od objektivn\u00edch<\/em> v\u011bdeck\u00fdch deskripc\u00ed. V tomto bod\u011b bych p\u0159\u00edpadnou diskusi nasm\u011broval k eseji ji\u017e zesnul\u00e9ho Du\u0161ana T\u0159e\u0161t\u00edka Faktopisci a d\u011bjepisci<\/em>1<\/sup>, p\u0159\u00edpadn\u011b k eseji V\u00e1clava B\u011blohradsk\u00e9ho Ka\u017ed\u00fd m\u016f\u017ee b\u00fdt stou opic\u00ed: Co je objektivita a co „objektivita.“<\/em>2<\/sup> N\u00e1mitku, \u017ee hran\u00fd film je pouhou iluz\u00ed skute\u010dnosti, lze z perspektivy dvou v\u00fd\u0161e uveden\u00fdch teoretick\u00fdch text\u016f korigovat. Postmoderna se sv\u00fdm sklonem k dekonstrukci toti\u017e vzn\u00e1\u0161\u00ed v\u00e1\u017en\u00e9 n\u00e1mitky proti objektivit\u011b jako takov\u00e9. I ta nejv\u011bde\u010dt\u011bj\u0161\u00ed v\u00fdpov\u011b\u010f o minulosti je nutn\u011b poznamen\u00e1na r\u016fzn\u00fdm stupn\u011bm subjektivity. Z tohoto d\u016fvodu bychom se nem\u011bli filmu z\u0159\u00edkat jako d\u016fle\u017eit\u00e9 u\u010debn\u00ed pom\u016fcky.<\/p>\n\n\n\n K v\u00fduce d\u011bjepisu se, samoz\u0159ejm\u011b, nejv\u00edce nab\u00edzej\u00ed sn\u00edmky historick\u00e9 nebo historizuj\u00edc\u00ed.<\/em><\/p>\n\n\n\n Jak ch\u00e1pat rozd\u00edly mezi nimi? Historick\u00fdm rozum\u00edme takov\u00e9 d\u00edlo, kter\u00e9 se pom\u011brn\u011b velmi v\u011brn\u011b sna\u017e\u00ed zachytit konkr\u00e9tn\u00ed dobu a postavy. Historick\u00e1 hodnov\u011brnost je autory pokl\u00e1d\u00e1na za d\u016fle\u017eitou, mo\u017en\u00e1 kl\u00ed\u010dovou sou\u010d\u00e1st d\u00edla. Do t\u00e9to kategorie pat\u0159\u00ed biografick\u00e9 sn\u00edmky osobnost\u00ed, o nich\u017e existuje bohat\u00fd pramenn\u00fd materi\u00e1l, p\u0159\u00edpadn\u011b mno\u017estv\u00ed monografick\u00e9 literatury. Auto\u0159i takov\u00fdchto d\u011bl \u00fazce spolupracuj\u00ed s odborn\u00edky na danou problematiku, sn\u00edmky jsou detailn\u011b konzultov\u00e1ny. Pozornosti bych doporu\u010dil n\u011bkter\u00e9 z n\u00e1sleduj\u00edc\u00edch: Baader-Meihofov\u00e1 kompex (2008), re\u017eie: Uli Edel, Ghand\u00ed (1982), re\u017eie: Richard Attenborough , Krvav\u00e1 ned\u011ble (2002), re\u017eie: Paul Greengrass, Hlad (2008), re\u017eie: Steve McQuenn, The Doors (1991), re\u017eie: Oliver Stone.<\/p>\n\n\n\n Za historizuj\u00edc\u00ed film pova\u017eujeme ten, kter\u00fd vych\u00e1z\u00ed z n\u011bjak\u00e9 historick\u00e9 epochy, je tedy zasazen do konkr\u00e9tn\u00edho \u010dasu, p\u0159\u00edpadn\u011b prostoru, ale jak dobov\u00fd \u010das, tak prostor, postavy slou\u017e\u00ed tv\u016frc\u016fm jako kulisy k vyj\u00e1d\u0159en\u00ed obecn\u011bji platn\u00fdch ide\u00ed, emoc\u00ed. Nakl\u00e1d\u00e1n\u00ed s re\u00e1liemi je voln\u011bj\u0161\u00ed ne\u017e u film\u016f historick\u00fdch. Z\u00e1m\u011brem tv\u016frc\u016f nen\u00ed ani tak pokus o objektivizaci historick\u00fdch d\u011bj\u016f, jako sp\u00ed\u0161e krit\u00e9ria estetick\u00e1, etick\u00e1. Odm\u00edt\u00e1n\u00ed doslovnosti historick\u00e9 perspektivy m\u016f\u017ee m\u00edt mnoho d\u016fvod\u016f. Nap\u0159\u00edklad absenci informac\u00ed o d\u011bji nebo osob\u011b. O t\u00e9 v\u00edme pouze zprost\u0159edkovan\u011b, skrze d\u00edlo, kter\u00e9 po sob\u011b zanechala. P\u0159\u00edkladem m\u016f\u017ee b\u00fdt historick\u00e1 freska Andrej Rublev (1966) Andreje Tarkovsk\u00e9ho. Stejn\u011b tak ale m\u016f\u017ee j\u00edt i o jakoukoli absenci konkr\u00e9tn\u00edch historick\u00fdch re\u00e1li\u00ed. Do t\u00e9to kategorie by spadal Boj o ohe\u0148 (1981) Jeana-Jacquese Annauda. Historick\u00fdm \u010dasem sn\u00edmku m\u00e1 b\u00fdt obdob\u00ed st\u0159edn\u00edho paleolitu, a\u010dkoli se v n\u011bm setk\u00e1v\u00e1 australophitecus s neandert\u00e1lsk\u00fdm \u010dlov\u011bkem, co\u017e je archeologick\u00fd nonsens. A\u010dkoli je d\u00edlo, z hlediska historick\u00e9ho neobjektivn\u00ed, jeho s\u00edla spo\u010d\u00edv\u00e1 v pokusech vyj\u00e1d\u0159it, jak obt\u00ed\u017en\u011b se rodila \u0159e\u010d ale i dokonce tak samoz\u0159ejm\u00e9 emoce jako je l\u00e1ska. Dal\u0161\u00edm mimo\u0159\u00e1dn\u00fdm Annaudov\u00fdm po\u010dinem bylo zfilmov\u00e1n\u00ed rom\u00e1nu Umberta Eca Jm\u00e9no r\u016f\u017ee. Ani zde nebylo z\u00e1m\u011brem tv\u016frc\u016f serv\u00edrovat div\u00e1kovi objektivn\u00ed historick\u00e1 fakta kl\u00e1\u0161tern\u00edho mikrosv\u011bta doby vrcholn\u00e9ho st\u0159edov\u011bku (sn\u00edmek se odehr\u00e1v\u00e1 r. 1327 v jednom zaalpsk\u00e9m opatstv\u00ed). By\u0165 se setk\u00e1me s konkr\u00e9tn\u00edmi postavami (inkvizitor Bernardo Gui), hodnota sn\u00edmku spo\u010d\u00edv\u00e1 v p\u0159ibl\u00ed\u017een\u00ed sv\u011bta st\u0159edov\u011bk\u00e9ho mni\u0161stv\u00ed, s jeho z\u00e1kazy, deviacemi, ale i u\u010den\u00fdmi disputacemi a s jeho scholastickou metodou v\u00fduky, stejn\u011b jako s jej\u00edm postupn\u00fdm drolen\u00edm, jeho\u017e nositelem byl \u0159\u00e1d men\u0161\u00edch brat\u0159\u00ed, tzv. franti\u0161k\u00e1n\u016f. A u francouzsk\u00e9ho re\u017eis\u00e9ra je\u0161t\u011b m\u016f\u017eeme setrvat nebo\u0165 Nep\u0159\u00edtel p\u0159ed branami (2001), obdobn\u011b kombinuje dobov\u00e9 re\u00e1lie stalingradsk\u00e9 bitvy, skute\u010dn\u00e9ho rusk\u00e9ho odst\u0159elova\u010de Vasilije Zajceva s neexistuj\u00edc\u00edm nacistick\u00fdm odst\u0159elovac\u00edm esem K\u00f6nigem.<\/p>\n\n\n\n Existuj\u00ed i filmy, kter\u00e9 s histori\u00ed nemaj\u00ed, krom\u011b povrchu, spole\u010dn\u00e9ho prakticky nic a slou\u017e\u00ed jako prodlou\u017een\u00e1 ruka politick\u00e9 propagandy. T\u011bch bychom jak v p\u0159edrevolu\u010dn\u00edch \u010dasech (p\u0159ed rokem 1989) tak i dnes na\u0161li minim\u00e1ln\u011b stejn\u011b jako t\u011bch, jich\u017e lze s \u00fasp\u011bchem vyu\u017e\u00edt. Historick\u00e9 filmy mohou b\u00fdt vynikaj\u00edc\u00edm dopl\u0148kem v\u00fduky d\u011bjepisu, zvl\u00e1\u0161t\u011b pokud je k nim p\u0159istupov\u00e1na s jistou m\u00edrou kriticismu a pou\u010den\u00e9ho z\u00e1jmu.<\/p>\n\n\n\n 1. T\u0159e\u0161t\u00edk, D.: Faktopisci a d\u011bjepisci. D\u011bjiny a sou\u010dasnost, ro\u010d. 24, 5\/2002, s. 36-40<\/em><\/p>\n\n\n\n 2. B\u011blohradsk\u00fd, V.: Ka\u017ed\u00fd m\u016f\u017ee b\u00fdt stou opic\u00ed – \u010cty\u0159i v\u011bty o objektivit\u011b a „objektivit\u011b“ in Spole\u010dnost nevolnosti. Slon Praha 2009, 2. vyd\u00e1n\u00ed, s. 97-110<\/em><\/p>\n\n\n\n Autor: Jaroslav Stan\u011bk<\/strong> <\/p>\n","protected":false},"excerpt":{"rendered":" Ur\u010deno k v\u00fduce d\u011bjepisu ve vy\u0161\u0161\u00edch ro\u010dn\u00edc\u00edch gymn\u00e1zi\u00ed, vhodn\u00e9 p\u0159edev\u0161\u00edm k za\u0159azen\u00ed v d\u011bjepisn\u00e9m nebo spole\u010denskov\u011bdn\u00edm semin\u00e1\u0159i. Mnoz\u00ed kulturologov\u00e9 a sociologov\u00e9 ch\u00e1pou na\u0161i kulturu p\u0159edev\u0161\u00edm jako kulturu vizu\u00e1ln\u00ed. Skrze obraz p\u0159ij\u00edm\u00e1me nejv\u011bt\u0161\u00ed mno\u017estv\u00ed informac\u00ed, vn\u00edm\u00e1n\u00ed obrazov\u00fdch sd\u011blen\u00ed je d\u016fle\u017eitou sou\u010d\u00e1st\u00ed vyu\u010dovac\u00edho procesu. P\u0159edm\u011bt d\u011bjepis, tak, jak jej zav\u00e1d\u00ed RVP, nab\u00edz\u00ed prostor k vyu\u017eit\u00ed film\u016f jako…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[55,56],"class_list":["post-157","post","type-post","status-publish","format-standard","hentry","category-sekce-spolecenskovedni","tag-dejepis","tag-film"],"_links":{"self":[{"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=\/wp\/v2\/posts\/157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=157"}],"version-history":[{"count":1,"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=\/wp\/v2\/posts\/157\/revisions"}],"predecessor-version":[{"id":158,"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=\/wp\/v2\/posts\/157\/revisions\/158"}],"wp:attachment":[{"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ucitel.kvcso.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Pozn\u00e1mky:<\/h4>\n\n\n\n