...Iveta Jusová; Dan Reyes Stylized, irreverent, and iconographically ambiguous, the 1969 Czech New Wave film The Fruit of Paradise ( Ovoce stromů rajských jíme , dir. Věra Chytilová) has frequently left even admiring audiences at a loss for words. In our reading, we take this film's intense...

... and Chinese cinemas. Dolls in Fragments: Daisies as Feminist Allegory Bliss Cua Lim As director Vera Chytilová put it, “Each of my films has met a cer- tain resistance on the part of authority.”1 Daisies [Sedmikrásky] (Czechoslovakia, 1966) was no exception. Denounced by state...

... appeared in New Literary History, Discourse , and the Journal of the Midwest Modern Language Association . Daisies (dir. Veˇra Chytilová, Czechoslovakia, 1966) “So We Will Go Bad”: Cheekiness, Laughter, Film Anca Parvulescu And what we call Laughter is only this action of the face...

... and Medium. No. 86: pp. 85 – 117 Iveta Jusová and Dan Reyes Věra Chytilová’s The Fruit of Paradise: A Tale of a Feminine Aesthetic, Dancing Color, and a Doll Who Kills the Devil. No. 87: pp. 65 – 91 184 Volume Index  • 185 Olivia...

... of political films and has always been responsive to feminists in the Bay Area. It was at the Picific Film Archive that we first met and saw the films of Jackie Raynal and Yvonne Rainer. So, for the first time, we were seeing films by Germaine Dulac, Agnes Varda, Maya Deren, Vera Chytilova, Leontine...

... and postcommunist cinemas.7 It is also true that some Eastern European woman filmmakers, such as Márta Mészáros, Vera Chytilová, and Agnieszka Holland, have been “discovered” in the last two decades. However, these discoveries have little to do with the possibility of emergent Eastern European feminisms.8 180...