Articles & Book Chapters by Tereza Czesany Dvorakova
Pavel Skopal – Roel Vande Winkel (Eds): Film Professionals in Nazi-Occupied Europe, 2021
The study deals with Wilhelm Söhnel and Anton Zankl as two Sudeten German officials who shaped th... more The study deals with Wilhelm Söhnel and Anton Zankl as two Sudeten German officials who shaped the German film policy in the so-called Protectorate of Bohemia and Moravia and who came into contact with Czech actors, directors and other filmmakers in a variety of different situations. Both of them were career Nazis and both pursued the interests of German cultural policy consistently and at times ruthlessly. At the same time, both Zankl and Söhnel were very ambivalent personalities. Both were personally and familially closely connected to the Bohemian-Moravian cultural area, which they defended within their means. They were networked in Czech as well as in German circles and cultivated intensive and even friendly relationships with certain Czech cultural actors. Both became real mediators and negotiators between Reich and Czech interests.
Historical Journal of Film, Radio and Television, 2021
This study deals with the Czechoslovak film school FAMU from its inception until the 1960s. Sever... more This study deals with the Czechoslovak film school FAMU from its inception until the 1960s. Several specific issues from the history of the institution are selected. The study examines to what extent the establishment of the school was influenced by the Communist Party (which strongly influenced Czechoslovak cultural policy from 1945 before seising monopolistic political power in February 1948) and if the Soviet VGIK was really a model for FAMU, as is sometimes maintained. The second area of interest is the production practice of student films, which the author uses to illustrate the institutional, as well as broader social and political changes in the school during the first 25 years of its existence. Emphasis is placed on topics such as students’ creative freedom (including their occasionally dissenting approaches), formal versus real competencies in the initiation of a film project, approval mechanisms and possible circumvention of the given rules, etc. The study works with those student films that were officially distributed in Czechoslovakia at the time. It is based on original archival and oral history research combined with secondary sources, including commemorative audio-visual works. The study’s methodological approach is rooted in the history of film institutions, production studies, and the political history of film.
Hans-Michael Bock – Jan Distelmeyer – Jörg Schöning (eds): Kellerkinder und Stacheltiere Film zwischen Polit-Komödie und Gesellschafts-Satire. München: edition text + kritik, 122–138, 2020
Satire forbidden! Satirical student films at FAMU in the 1970s and 1980s
Iluminace 32:1, 5–39, 2020
The study aims to show the potential hidden in the original archive resources of the film industr... more The study aims to show the potential hidden in the original archive resources of the film industry companies and movies for the economic analysis of the Czechoslovak and Czech film industry in the 20th century in various ideological and economic regimes. The study answers three questions:
• how can researchers use the film archive resources for the economic analysis of the film industry;
• how can the film archive resources be used for the analysis of the economic decisions of film producers;
• what were the economic costs of Czechoslovak and Czech movies from the historical perspective?
In the first chapter the study analyses the structure and quality of the gathered data as well as the evolution of budgeting strategies of producers. Based on the collected archive sources, the second
chapter provides the first analysis of the structure of financial sources of the three Czech movies — The Son of Mountains (Vladimír Slavínský, 1925), Rosina the Foundling (Otakar Vávra, 1945), and The Party and Guests (Jan Němec, 1966) — that were produced in various periods. At the same time, the second chapter deduces possible strategies used by companies for financing their movies. The third chapter analyses the financial cost of Czechoslovak and Czech movies. The analysis shows that the highest costs happened in the extraordinary last year of the Second World War, and then in the 1950s. With the only exception being 1974 and 1977, the costs in other years did not come close and fluctuated alongside a significantly lower level of today’s average cost as declared by film producers. The study is the outcome of the research project “Kolik kdy stál český film”, supported by the Czech Film Fund (no 1364/2016).
Iluminace 30:4, 31–49, 2018
The study focuses on answering several partial research questions that contextualize the topic of... more The study focuses on answering several partial research questions that contextualize the topic of the Protectorate film industry, namely the circumstances of the origin and existence of by-Nazis-created the Prag-Film company. The first part of the study introduces the Reich film concept whose aim was the general production and economic strengthening of German cinema on domestic and foreign level. From 1937 to 1942, the Nazis realized an extensive centralization and partial nationalization of fi lm infrastructure in Germany and in some of the occupied countries including the Protectorate Bohemia and Moravia. The second part of the study analyses the particular steps and circumstances that led to the Germanization of the Czech film studios by Cautio Treuhand. We are mapping a negotiation process from 1942 whose goal was to clarify the position of the new Prague film company, formally situated under the authority of the Reich Protector’s Office’s Cultural department, but also under the supervision of the UFI Reich Group (the subsidiary of which Prag-Film became in the same year). Between 1941 and 1944, Germans invested heavily in Prague film studios and built up a complex of 13 film soundstages. Their total area in 1944 was bigger than the area of soundstages of the largest German film company Ufa. Last but not least, the Prag-Film served as an effective instrument of control over Czech film production, and thanks to the systematic engagement of Czech filmmakers it has also played an important propaganda role. Prag-Film became a successful example of a fully integrated instrument serving the goals of Reich’s film policy.
Andrea Poláčková – Václav Kaška (eds). Protektorát 1939-1945. Brno: Extra Publishing, 104–107, 2017
An overview chapter about the Czech cinema during the time of German occupation.
Iluminace 29:2, 114–119, 2017
Introduction to the edition of materials; an overview study of the history of the Bohemian-Moravi... more Introduction to the edition of materials; an overview study of the history of the Bohemian-Moravian Film Union (Boehmisch-Maehrische Filmzentrale).
Dějiny a současnost 35:8, 21–24, 2013
An overview article on Cinema in the Protectorate Bohemia and Moravia.
Ivo Pejčoch - Prokop Tomek et al.: Od svobody k nesvobodě 1945-1956. Prague: VHU, 2011
Study title translation: Czech Film Industry between Totalitarities. Dis-/continuity in the devel... more Study title translation: Czech Film Industry between Totalitarities. Dis-/continuity in the development of Czech Cinema after the World War II.
Luisa Cigognetti – Lorenza Servetti – Pierre Sorlin (eds). History on television in seven eastern european countries / Storia in televisione in sette paesi dell'Europa dell'Est. Bologna: Assemblea Legislativa Regione Emilia-Romagna, 71–100 / 65–92, 2010
Study deals with selected formats, genres and examples of historical reflections in Czech televis... more Study deals with selected formats, genres and examples of historical reflections in Czech television history.
Dagmar Magincová (ed.). O protektorátu v sociokulturních souvislostech. Červený Kostelec: Pavel Mervart, 41–62, 2011
The study focuses on the position of the Bohemian-Moravian Film Union in the structures of the Cz... more The study focuses on the position of the Bohemian-Moravian Film Union in the structures of the Czech Protectorate culture and cinema politics.
Jan Lukeš (ed.). Černobílý snář Elmara Klose. Praha: Národní filmový archiv, 51–68, 2011
Chapter of the book deals with Czech filmmaker Elmar Klos in WWII time and the first after-war ye... more Chapter of the book deals with Czech filmmaker Elmar Klos in WWII time and the first after-war years.
Film a dějiny 2. Adolf Hitler a ti druzí, 2009
The study, based on the content analysis of a film report from the Film Harvest Festival in 1941,... more The study, based on the content analysis of a film report from the Film Harvest Festival in 1941, maps the situation of the Czech film industry and the circumstances of this cultural event under the Nazi occupation.
Zwischen Barrandov und Babelsberg. Deutsch-tschechische Filmbeziehungen im 20. Jahrhundert, 2008
Paper title translation: "In Prague's field of tension. Power structures of cinematography in the... more Paper title translation: "In Prague's field of tension. Power structures of cinematography in the Boehmen and Maehren protectorate."
The study deals with the issue of formal and real competencies of selected actors in the field of the occupied Czech film industry.
Iluminace, 2006
The article presents an initial view of the topic of the dissertation devoted to one of the actor... more The article presents an initial view of the topic of the dissertation devoted to one of the actors of the film industry in the period of the Protectorate of Bohemia and Moravia
Iluminace, 2004
The historical study presents an edition of historical documents devoted to the topic of forced a... more The historical study presents an edition of historical documents devoted to the topic of forced administration in film companies in the period of the Protectorate of Bohemia and Moravia.
Iluminace, 2002
The historical study reveals the ambiguous relations between the Berlin Film Headquarters and the... more The historical study reveals the ambiguous relations between the Berlin Film Headquarters and the cultural-political department of the Reich Protector's Office, which led to the conclusion of a written agreement. This agreement documents the Nazis' relationship to the future of the film industry in Bohemia during the German occupation. The following is an edition of historical materials.
Iluminace, 2002
An encyclopedic article about the film Erotikon (dir. Gustav Machatý, Czechoslovakia 1929).
Iluminace, 1997
List of literature on the history of Czech film in the period after the Prague Spring.
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Articles & Book Chapters by Tereza Czesany Dvorakova
• how can researchers use the film archive resources for the economic analysis of the film industry;
• how can the film archive resources be used for the analysis of the economic decisions of film producers;
• what were the economic costs of Czechoslovak and Czech movies from the historical perspective?
In the first chapter the study analyses the structure and quality of the gathered data as well as the evolution of budgeting strategies of producers. Based on the collected archive sources, the second
chapter provides the first analysis of the structure of financial sources of the three Czech movies — The Son of Mountains (Vladimír Slavínský, 1925), Rosina the Foundling (Otakar Vávra, 1945), and The Party and Guests (Jan Němec, 1966) — that were produced in various periods. At the same time, the second chapter deduces possible strategies used by companies for financing their movies. The third chapter analyses the financial cost of Czechoslovak and Czech movies. The analysis shows that the highest costs happened in the extraordinary last year of the Second World War, and then in the 1950s. With the only exception being 1974 and 1977, the costs in other years did not come close and fluctuated alongside a significantly lower level of today’s average cost as declared by film producers. The study is the outcome of the research project “Kolik kdy stál český film”, supported by the Czech Film Fund (no 1364/2016).
The study deals with the issue of formal and real competencies of selected actors in the field of the occupied Czech film industry.
• how can researchers use the film archive resources for the economic analysis of the film industry;
• how can the film archive resources be used for the analysis of the economic decisions of film producers;
• what were the economic costs of Czechoslovak and Czech movies from the historical perspective?
In the first chapter the study analyses the structure and quality of the gathered data as well as the evolution of budgeting strategies of producers. Based on the collected archive sources, the second
chapter provides the first analysis of the structure of financial sources of the three Czech movies — The Son of Mountains (Vladimír Slavínský, 1925), Rosina the Foundling (Otakar Vávra, 1945), and The Party and Guests (Jan Němec, 1966) — that were produced in various periods. At the same time, the second chapter deduces possible strategies used by companies for financing their movies. The third chapter analyses the financial cost of Czechoslovak and Czech movies. The analysis shows that the highest costs happened in the extraordinary last year of the Second World War, and then in the 1950s. With the only exception being 1974 and 1977, the costs in other years did not come close and fluctuated alongside a significantly lower level of today’s average cost as declared by film producers. The study is the outcome of the research project “Kolik kdy stál český film”, supported by the Czech Film Fund (no 1364/2016).
The study deals with the issue of formal and real competencies of selected actors in the field of the occupied Czech film industry.
Mit einem Beitrag von Ivan Klimeš »Kinematografie im Protektorat Böhmen und Mähren«.
Das Buch behandelt das in Deutschland jahrelang vernachlässigte Thema der deutschtschechischen Filmbeziehungen in der Epoche der nationalsozialistischen Okkupation. Ivan Klimeš gibt einen einführenden Überblick über die Strukturen der Kinematografie im »Protektorat Böhmen und Mähren«. Im Hauptteil des Buches konzentriert sich Tereza Dvoráková auf ein wichtiges Element der Protektorats- Kinematografie - die Produktionsgesellschaft Prag-Film AG. Die Firma wurde 1941 gegründet, ihr Einfluss stieg aber vor allem ab 1943, da Prag für Filmmacher aus dem Reich wegen der relativen Sicherheit vor Bombenangriffen ein gefragter Ort war. Eine detaillierte Filmografie der Spiel- und Kurzfilme der Prag-Film sowie zahlreiche unbekannte Dokumente aus tschechischen und deutschen Archiven runden den Band ab.
The book deals with the topic of German-Czech film relations during the era of the National Socialist occupation, which has been neglected for years in Germany. Ivan Klimeš gives an introductory overview of the structures of cinematography in the »Protectorate of Bohemia and Moravia«. In the main part of the book, Tereza Dvoráková focuses on an important element of Protectorate cinematography - the Prague-Film AG production company. The company was founded in 1941, but its influence increased above all from 1943, as Prague was a popular place for filmmakers from the Reich because of its relative safety from bombing attacks. The volume is rounded off with a detailed filmography of the feature films and short films by Prag-Film as well as numerous unknown documents from Czech and German archives.
Everybody knows what a television is. Many people have one at home and watch it daily. You know what a TV looks like and what it shows. But do you know when it was invented – and how it works? What programs it used to show in the past, compared to what it shows today? What it meant to your parents and grandparents, and how it influences our everyday lives? And does it have a future at all, in the age of the internet?
Intended for all curious children 8 and older, as well as adults – parents, teachers, after-school club leaders – Television Then and Now follows in the footsteps of two earlier books: How Cinema Was Born (Argo, 2017) and How a Film Is Made (Argo, 2017). Like the previous volumes, it includes a section called “Experiments”, which is full of inspiration for at-home investigations of TV technology.
Everybody knows what a film is. But few can actually imagine how many
people and how much time it takes to make a feature film and present it to the audience. Who or what is a Foley, why do screenplays always come in so many different versions and what exactly does a continuity supervisor do? Which tricks are nowadays done on camera and which ones on the computer? Why do films need their own architects? Who hides under the mysterious term cameo? What have location scouts
and Boy Scouts in common? And what exactly does a film festival do for filmmakers and their films? The publication is a loose sequel to the bestselling How Cinema Was Born (Argo, 2017). It is richly illustrated by Nikkarin and contains an experimental section that shows young readers how to make and distribute a real film at home.
Would you like to know, what all had to happen before the first feature-length animated film was shot? Let's tell the story from Leonardo Da Vinci to Lotte Reiniger. Our journey into the archaeology of film is a homage to the epoch of 18th and 19th century – the time of inventions and social change, without which we could hardly imagine what it is to have fun in the cinema, in front of the television, computer or with our tablets today.
The book also contains an interactive section, prepared by experimental filmmaker František Týmal, with several manuals for the making of optical toys, which will show moving images that were watched by people more than a hundred years ago. Optical toy manuals are based on the do-it-yourself concept and can be created at home or in school.
Humorous illustrations made by leading Czech children comics author Nikkarin open the book to other pop-cultural contexts.
The book is designed for inquisitive readers from 6 years of age, but also for much older ones.
See also: https://www.mkcr.cz/medialni-a-filmova-vychova-41.html
Klaus Christian Vögl, Angeschlossen und gleichgeschaltet. Kino in Ősterreich 1938–1945. Wien – Köln – Weimar: Böhlau 2018.
Peter Demetz: Diktatoren im Kino. Lenin – Mussolini – Hitler – Goebbels – Stalin. Wien: Paul Zsolnay Verlag, 2019.
The Czech version is available under the link below.
Volker Mohn. Nacistická kulturní politika v Protektorátu: Koncepce, praxe a reakce české strany. Praha: Prostor 2018 (to Czech translated from German).
Martin Franc et al: Dějiny Akademie múzických umění v Praze, Praha: NAMU 2018. & Martin Franc, Lenka Krátká (eds): Dějiny AMU ve vyprávěních, Praha: NAMU 2017.
Petr Szczepanik: Konzervy se slovy. Počátky zvukového filmu a česká mediální kultura 30. let. Brno: Host, 2009.
The original methodology was developed with knowledge and inspiration from some of the European film education approaches (CinEd/Cinematheque francaise, BFI/Into Film, Doc Alliance Academy, Bundeszentrale fuer politische Bildung etc.). The aim was to create a set of materials for educators (adults) and pupils/students (children) that could be used as flexibly and practically as possible - both for educators who are highly motivated for film education and for teachers and lecturers who do not have enough time to prepare a teaching unit.
Film kombinuje techniku hraného a animovaného filmu. Tento postup, ale i charakter literární předlohy a samotný žánr pohádkového příběhu odehrávajícího se v běžném fikčním světě dnešního velkoměsta otevřel tvůrcům široký prostor pro rozvoj svébytné výtvarné stylizace. S animovanými prvky se ve filmu Modrý tygr pracuje velmi citlivě a přitom invenčně.
Kombinuje se klasická 2D animace s moderními digitálními postupy.
Dílo v sobě spojuje několik filmových tradic: Navazuje na proud českých filmů pro děti a mládež, které se staly v 70. a 80. letech 20. století úspěšné nejen v Československu, ale i v zahraničí. Klíčový je také odkaz (nejen) evropského autorského animovaného filmu poválečné dekády, kdy tvůrci získali lepší podmínky pro dlouhodobější, systematický rozvoj svébytných, výtvarně originálních filmových děl.
Film debutujícího režiséra a zkušeného producenta Petra Oukropce Modrý tygr je důležitým příkladem celovečerního uměleckého filmu určeného primárně dětem mladšího školního věku. Tento žánr se z českého filmu po pádu studiového systému po roce 1989 skoro vytratil. Režisér se však tvorbě pro děti a mládež věnuje programově. Film Modrý tygr slaví úspěchy nejen v Česku, ale také v Německu, Švýcarsku, Polsku nebo na Slovensku.
CinEd usiluje o šíření sedmého umění jako kulturního statku a jednoho z nástrojů pro pochopení světa. Za tímto účelem byla na základě kolekce filmů pocházejících z partnerských evropských zemí vytvořena společná metodika, jež svým pojetím reaguje na naši dobu, která se vyznačuje rychlými, zásadními a neustálými změnami v tom, jak vnímáme, přijímáme, šíříme a vytváříme obrazy.
uncertainty that today’s world generates in both children and adults. At the same time, however, in thematic terms – albeit in simplified form for young viewers – it builds on the tradition of the subversive films made in from of and behind the Iron Curtain in the latter half of the 20th century. The world of children is depicted as a world of hope, while the adult world is marked by compromise and despotism.
The film combines live action and animation techniques. This approach, along with the nature of the original book and the genre of the fairy tale played out in the regular fictional world of a contemporary city, presented its makers with plenty of freedom to develop their own stylised design. The animated elements in The Blue Tiger are handled very sensitively but also inventively, combining classic 2D animation with modern digital methods.
Several film traditions come together in the film: It builds on Czech films for children and teenagers, which in the 1970s and 1980s were successful not only in Czechoslovakia but internationally. Also key, however, is the legacy of European (and beyond) authorial animated film of the post-war decades, when filmmakers acquired better conditions for the long-term, systematic development of indigenous,
artistically original films.
The Blue Tiger by Petr Oukropec, a debut director and experienced producer, is an important example of a feature-length film with artistic merit intended primarily for children of younger school age. This genre virtually disappeared from Czech cinema in the wake of the post-1989 collapse of the studio system. The director focuses on producing work for children and teens in a systematic manner, however. The Blue Tiger has enjoyed success not only in the Czech Republic but also in Germany, Switzerland, Poland and Slovakia.
CinEd is dedicated to the transmission of the Seventh Art as a cultural object and material to help conceive the world. To accomplish this, common teaching methods were developed based on a selection of films produced by the European partner countries. The approach is designed to be adapted to our time, characterized by fast, major and continuous change in the way we see, receive, broadcast and produce images.
Il film combina l'azione dal vivo e le tecniche di animazione. Questo approccio, insieme alla natura del libro originale e del genere fiabesco, si svolge nel mondo immaginario quotidiano di una città contemporanea, offrendo ai suoi creatori una grande libertà di sviluppare il proprio stile personale. Gli elementi animati di The Blue Tiger sono gestiti in modo molto sensibile ma anche inventivo, combinando la classica animazione 2D con i moderni metodi digitali. Diverse tradizioni cinematografiche si fondono nel film: si basa su film cechi per bambini e adolescenti, che negli anni '70 e '80 hanno avuto successo non solo in Cecoslovacchia ma a livello internazionale. L'aspetto chiave, tuttavia, è l'eredità del film d'animazione europeo e non dei decenni del dopoguerra, in cui i cineasti disponevano delle condizioni migliori per lo sviluppo a lungo termine di film indigeni e artisticament e originali.
The Blue Tiger di Petr Oukropec, regista esordiente ed esperto produttore, è un importante esempio di un lungometraggio con merito artistico destinato principalmente ai bambini in età scolare. Questo genere è praticamente scomparso dal cinema ceco sulla scia del collasso dello Studio System successivo al 1989. Il regista si concentra sulla produzione di lavori per bambini e ragazzi. The Blue Tiger ha avuto successo non solo in Repubblica Ceca, ma anche in Germania, Svizzera, Polonia e Slovacchia.
CinEd è un progetto dedicato alla trasmissione della Settima Arte come oggetto culturale e materiale per aiutare a concepire il mondo. Per raggiungere questo obiettivo, sono stati sviluppati metodi di insegnamento comuni basati su una selezione di film prodotti dai paesi partner europei. L'approccio è progettato per essere adattato ai nostri tempi, caratterizzati da cambiamenti rapidi, importanti e continui nel modo in cui vediamo, riceviamo, trasmettiamo e produciamo
immagini.
Le film combine des technologies classiques avec celles de l’animation en 2D, ainsi que des techniques plus modernes. Ce choix, qui découle du caractère de l’oeuvre littéraire originale, ainsi que le registre du conte merveilleux et le contexte du récit, situé dans une grande ville contemporaine, ont largement ouvert l’espace créatif, produisant une conception artistique hors du commun. Dans Le Tigre bleu, les éléments animés interviennent avec sensibilité et inventivité. L’oeuvre associe la tradition tchèque des films pour la jeunesse, populaires surtout dans les années 1970 et 1980, dont le succès a dépassé les frontières, avec l’héritage mondial du cinéma d’animation d’auteur d’après-guerre. Les artistes ont connu une amélioration des conditions de pr oduction, avec pour résultat des oeuvr es uniques et élaborées.
Le Tigre bleu marque les débuts de Petr Oukropec, producteur expérimenté, à la réalisation, et il constitue un exemple remarquable de long-métrage artistique conçu principalement pour les jeunes écoliers. Ce genre a presque disparu après la chute du système de production tchécoslovaque, en 1989, ce qui na pas dissuadé Petr Oukropec de se consacrer à la création pour les enfants et les jeunes. Le Tigre bleu a rencontré un grand succès non seulement en Tchéquie, mais aussi aux États-Unis, en Suisse, en Pologne ou encore en Slovaquie.
CinEd s'attache à une mission de transmission du 7ème art comme objet culturel et support pour penser le monde. Pour ce faire, une pédagogie commune s'est élaborée à partir d'une collection de films issus de productions des pays européens partenaires du projet. L'approche se veut adaptée à notre époque marquée par une mutation rapide, majeure et continue dans la façon de voir, recevoir, diffuser et produire les images.
O filme combina imagem real com técnicas de animação. Esta abordagem, juntamente com a natureza do livro original e o género do conto de fadas ocorrendo no mundo ficcional de uma cidade contemporânea, proporcionou aos seus criadores liberdade suficiente para desenvolverem um design estilizado. Os elementos de animação em O Tigre Azul são tratados de forma sensível, mas também criativa, combinando animação clássica em 2D com métodos digitais contemporâneos.
O filme reúne várias tradições cinematográficas, indo beber aos filmes checos infantis e juvenis que, nos anos 1970 e 1980, tiveram enorme sucesso não só na Checoslováquia, mas também internacionalmente. Igualmente fundamental, contudo, é o legado do cinema de animação europeu (e não só) do pós-guerra, altura em que os cineastas adquiriram melhores condições para uma produção sistemática e sustentável de filmes nacionais artisticamente originais.
O Tigre Azul, de Petr Oukropec, um realizador estreante e produtor experiente, é um exemplo significativo de uma longa-metragem de valor artístico destinada essencialmente a crianças em idade escolar. Este género desapareceu virtualmente do cinema checo na sequência do colapso do sistema de estúdios após 1989. No entanto, o realizador continuou a dedicar-se à criação de obras para crianças e adolescentes. O Tigre Azul foi um sucesso não só na República Checa, mas também na Alemanha, Suíça, Polónia e Eslováquia.
O CinEd dedica-se à transmissão da Sétima Arte enquanto objecto cultural e material que ajuda a pensar o mundo. Para tal, elaborou-se uma pedagogia comum a partir de uma selecção de filmes produzidos pelos países europeus parceiros do projecto. A abordagem quer-se adaptada à nossa época, caracterizada por mudanças rápidas, extraordinárias e constantes na maneira de ver, receber, difundir e produzir imagens.
Co-authorship of the AMU part (second co-author Jiří Šoukal).
Czech version available on: https://www.amu.cz/media/20-LAYOUT-CZ-NAHLED-PRO-WEB-zmenseny.pdf (1. 3. 2022)