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.
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 language | English |
|---|---|
| Journal | East European Film Bulletin |
| Volume | 88 |
| Publication status | Published - Oct 2018 |