The Philosophical Farce of Daisies

Research output: Contribution to specialist publicationArticleResearch

Abstract

[Extract] In describing her 1966 film Daisies (Sedmikrásky), Věra Chytilová claimed that it was a philosophical film in the form of a farce.1 Daisies is an unsettlingly powerful example of film’s ability to elicit philosophical thought. The farcical elements of the film add an extra potency to the philosophical questioning of modernity that the film explores.

A farce is a story that employs hyperbolic presentations of character’s mannerisms and their world, usually for comic effect. A farce depends on the ridiculous for its humor. In many analyses of farce as a dramatic style, there is a tendency to deride the frequent use of indecency to produce its humor. Furthermore, farce as a form is criticized for directing the audience away from a higher, more meaningful experience such as what can be found in more respectable and established dramatic forms, for instance, tragedy. Chytilová employs many of the features of farce in Daisies.
Original languageEnglish
Volume88
Specialist publicationEast European Film Bulletin
Publication statusPublished - Oct 2018

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Daisy
Farce
Potency
Tragedy
Mannerism
Questioning
Modernity
Thought

Cite this

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title = "The Philosophical Farce of Daisies",
abstract = "[Extract] In describing her 1966 film Daisies (Sedmikr{\'a}sky), Věra Chytilov{\'a} claimed that it was a philosophical film in the form of a farce.1 Daisies is an unsettlingly powerful example of film’s ability to elicit philosophical thought. The farcical elements of the film add an extra potency to the philosophical questioning of modernity that the film explores.A farce is a story that employs hyperbolic presentations of character’s mannerisms and their world, usually for comic effect. A farce depends on the ridiculous for its humor. In many analyses of farce as a dramatic style, there is a tendency to deride the frequent use of indecency to produce its humor. Furthermore, farce as a form is criticized for directing the audience away from a higher, more meaningful experience such as what can be found in more respectable and established dramatic forms, for instance, tragedy. Chytilov{\'a} employs many of the features of farce in Daisies.",
author = "Daniel Brennan",
year = "2018",
month = "10",
language = "English",
volume = "88",
journal = "East European Film Bulletin",
issn = "1775-3635",

}

The Philosophical Farce of Daisies. / Brennan, Daniel.

In: East European Film Bulletin, Vol. 88, 10.2018.

Research output: Contribution to specialist publicationArticleResearch

TY - GEN

T1 - The Philosophical Farce of Daisies

AU - Brennan, Daniel

PY - 2018/10

Y1 - 2018/10

N2 - [Extract] In describing her 1966 film Daisies (Sedmikrásky), Věra Chytilová claimed that it was a philosophical film in the form of a farce.1 Daisies is an unsettlingly powerful example of film’s ability to elicit philosophical thought. The farcical elements of the film add an extra potency to the philosophical questioning of modernity that the film explores.A farce is a story that employs hyperbolic presentations of character’s mannerisms and their world, usually for comic effect. A farce depends on the ridiculous for its humor. In many analyses of farce as a dramatic style, there is a tendency to deride the frequent use of indecency to produce its humor. Furthermore, farce as a form is criticized for directing the audience away from a higher, more meaningful experience such as what can be found in more respectable and established dramatic forms, for instance, tragedy. Chytilová employs many of the features of farce in Daisies.

AB - [Extract] In describing her 1966 film Daisies (Sedmikrásky), Věra Chytilová claimed that it was a philosophical film in the form of a farce.1 Daisies is an unsettlingly powerful example of film’s ability to elicit philosophical thought. The farcical elements of the film add an extra potency to the philosophical questioning of modernity that the film explores.A farce is a story that employs hyperbolic presentations of character’s mannerisms and their world, usually for comic effect. A farce depends on the ridiculous for its humor. In many analyses of farce as a dramatic style, there is a tendency to deride the frequent use of indecency to produce its humor. Furthermore, farce as a form is criticized for directing the audience away from a higher, more meaningful experience such as what can be found in more respectable and established dramatic forms, for instance, tragedy. Chytilová employs many of the features of farce in Daisies.

M3 - Article

VL - 88

JO - East European Film Bulletin

JF - East European Film Bulletin

SN - 1775-3635

ER -