3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM 2016, www.sgemsocial.org, SGEM2016 Conference Proceedings, ISBN 978-619-7105-78-0 / ISSN 2367-5659, Aug 24-31, 2016, Book 4 Vol. 3, 117-124pp., 2016
The roots of political satire in Slovakia can be found in the national press in the second half o... more The roots of political satire in Slovakia can be found in the national press in the second half of the 19th century. More significantly it has spread in the press after the establishment of Czechoslovakia in 1918. In the television media satire has emerged after the fall of the communist regime in 1989. At the beginning of the 90s of the last century satirical programs were among the most watched television entertainment programs in Slovakia. Even in the late 90s of last century, during the reign of Slovak Prime Minister Vladimír Mečiar, when satirical programs on public Slovak Television (STV) were significantly truncated by censorship, they attracted the audience of TV shows on the most important Slovak private TV – TV Markíza. After 2005, the satire began to fade from Slovak televisions and now shows of this genre cannot be found on the major Slovak full-format TV circuit any longer.
The work is dedicated not only to the evolution of television political satire in Slovakia, but especially to the reasons of the current absence of this genre on relevant Slovak TV channels. Could today’s situation be interpreted as the result of recent changes related to ownership of the most relevant private TV stations, and the resignations of new owners to participate in the political struggle? Or is it just a consequence of the liberalization of society and media market, together with introduction of digital media and their potential to support the elements of direct democracy? The Slovak TV media itself have considered that a major reason for eliminating satirical programs is decreasing interest of viewers in political satire and politics as well.
To verify the first hypothesis, we have to analyze the specificity of the Slovak media space and compare Slovak television production with foreign TV production (mainly Czech and American). The decline of interest in political satire we will verify by the questionnaire survey. We spoke to the students of Slovak universities with question if they look for political satire on television media or if they prefer looking for it on the Internet.
Keywords: political satire, Slovak audiovisual media, specificity of Slovak humour, television satirical programmes
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Papers by Štefan Timko
parody and the specifi city of th e Czech version of generic parody. An impor-
tant part of the paper is the analysis of fi lm parodies The Hard Life of an Ad-
venturer and The Poacher’s Foster Daughter or Noble Millionaire by Martin
Frič and a parody of the American Western, Lemonade Joe by Oldřich Lipský.
The work is dedicated not only to the evolution of television political satire in Slovakia, but especially to the reasons of the current absence of this genre on relevant Slovak TV channels. Could today’s situation be interpreted as the result of recent changes related to ownership of the most relevant private TV stations, and the resignations of new owners to participate in the political struggle? Or is it just a consequence of the liberalization of society and media market, together with introduction of digital media and their potential to support the elements of direct democracy? The Slovak TV media itself have considered that a major reason for eliminating satirical programs is decreasing interest of viewers in political satire and politics as well.
To verify the first hypothesis, we have to analyze the specificity of the Slovak media space and compare Slovak television production with foreign TV production (mainly Czech and American). The decline of interest in political satire we will verify by the questionnaire survey. We spoke to the students of Slovak universities with question if they look for political satire on television media or if they prefer looking for it on the Internet.
Keywords: political satire, Slovak audiovisual media, specificity of Slovak humour, television satirical programmes
Books by Štefan Timko
an object of mythologizing in Czech and Slovak audiovisual culture and to
marginally approach the global view of this personality. The opening two
chapters of the lecture offer an analysis of relevant Dubček myths, the causes
of Dubček‘s domestic and global popularity after 1968, and also register the
change in the official view of this personality during the period of normalization
in Czechoslovakia. The dominant part of the third chapter focuses on the
mythologizing of Dubček during the first three governments of Robert Fico
between 2006 and 2018, when Dubček‘s idealized image was used not only
in the presentation of the policy of the SMER-SD government party, but also
in state propaganda. At the same time, however, in addition to populist and
nationalist interpretations of his legacy, there were also more complex views of
Dubček‘s social contribution. It is mainly about the television episode We Have
to Agree from the TV series Czech Century and the novel Alexander Dubček/
A Year Longer Than a Century by Ľuboš Jurík.
The final part of the lecture is devoted to the analysis of Slovak documentary
films from 2020 to 2023. These works re-evaluate the existing myths about the
representative of the Prague Spring and perceive him in new contexts. They
do not impose on the audience a clear, ideologically defined view of this wellknown
politician; they use the procedures of philosophical deconstruction.
These images are compared with Czech documentaries and feature films from
the same period (Havel, The Man Who Stood in the Way, A Lonely Voice Against
Moscow), in which the leader of the Prague Spring is also demystified.
parody and the specifi city of th e Czech version of generic parody. An impor-
tant part of the paper is the analysis of fi lm parodies The Hard Life of an Ad-
venturer and The Poacher’s Foster Daughter or Noble Millionaire by Martin
Frič and a parody of the American Western, Lemonade Joe by Oldřich Lipský.
The work is dedicated not only to the evolution of television political satire in Slovakia, but especially to the reasons of the current absence of this genre on relevant Slovak TV channels. Could today’s situation be interpreted as the result of recent changes related to ownership of the most relevant private TV stations, and the resignations of new owners to participate in the political struggle? Or is it just a consequence of the liberalization of society and media market, together with introduction of digital media and their potential to support the elements of direct democracy? The Slovak TV media itself have considered that a major reason for eliminating satirical programs is decreasing interest of viewers in political satire and politics as well.
To verify the first hypothesis, we have to analyze the specificity of the Slovak media space and compare Slovak television production with foreign TV production (mainly Czech and American). The decline of interest in political satire we will verify by the questionnaire survey. We spoke to the students of Slovak universities with question if they look for political satire on television media or if they prefer looking for it on the Internet.
Keywords: political satire, Slovak audiovisual media, specificity of Slovak humour, television satirical programmes
an object of mythologizing in Czech and Slovak audiovisual culture and to
marginally approach the global view of this personality. The opening two
chapters of the lecture offer an analysis of relevant Dubček myths, the causes
of Dubček‘s domestic and global popularity after 1968, and also register the
change in the official view of this personality during the period of normalization
in Czechoslovakia. The dominant part of the third chapter focuses on the
mythologizing of Dubček during the first three governments of Robert Fico
between 2006 and 2018, when Dubček‘s idealized image was used not only
in the presentation of the policy of the SMER-SD government party, but also
in state propaganda. At the same time, however, in addition to populist and
nationalist interpretations of his legacy, there were also more complex views of
Dubček‘s social contribution. It is mainly about the television episode We Have
to Agree from the TV series Czech Century and the novel Alexander Dubček/
A Year Longer Than a Century by Ľuboš Jurík.
The final part of the lecture is devoted to the analysis of Slovak documentary
films from 2020 to 2023. These works re-evaluate the existing myths about the
representative of the Prague Spring and perceive him in new contexts. They
do not impose on the audience a clear, ideologically defined view of this wellknown
politician; they use the procedures of philosophical deconstruction.
These images are compared with Czech documentaries and feature films from
the same period (Havel, The Man Who Stood in the Way, A Lonely Voice Against
Moscow), in which the leader of the Prague Spring is also demystified.