Spring 2014

Art and Art History Event Calendar


Life Model Sessions

Every Tuesday Starting February 4

8:30-10:00 PM, Montgomery Hall

Visiting Artist Talk: Kathleen Hall

February 26th, 4:45 PM, Library 321

Alumni Spotlight: Sarah Sachs 


Sarah received her BA in Studio Art from St. Mary's College of Maryland in 2006. In 2008, she received her Masters of Art in Digital Art from Maryland Institute College of Art, and in 2009 she received her Masters of Fine Art in Photography and Digital Imaging, also from Maryland Institute College of Art. Through her fine art work, Sarah explores the dichotomy between human and digital memory, how the two influence one another, and how they are affected by natural and technological elements of decay. She hopes to create a dialogue about the relationships between personal memory, society’s collective memory, and collective cultural identity. 

Sarah Sachs Photography


Jessica  Wolfley, Art History SMP, 2003                Return to SMP Archive Index 
Mentors: Dr. Rebecca Brown and Dr. Thomas Barrett

Unearthing Gender in Czechoslovak New Wave Cinema

Jirí Menzel’s Closely Watched Trains, 1960

Abstract:  A remarkable moment in Czechoslovak history during the 1960s finally opened doors for students and educators in various realms of intellectual and creative activity. As the Communist-controlled country attempted to lift itself out of national debt, the Czechoslovak government slowly adopted more liberal policies. Taking advantage of the increasingly liberated atmosphere, many Czechoslovak film directors freely deserted the Stalin’s forerunning socialist realist tenets that previously dominated cinema. Liberalization of the Czechoslovak film industry eventually led to what is now known as the Czechoslovak New Wave: a film movement in 1960s Czechoslovakia characterized by its contemplative, humorous, and truthful experimentation and exploration of the film medium. This paper explores the cinematic patterns and anomalies that distinguish Czechoslovak New Wave cinema as a means to interpret the gender issues surfacing in the content of each film. Problems with masculinity, femininity, or the disparate experiences of women and men habitually emerge, challenging the viewer to consider the issues of gender within a social and political context of mid-twentieth century Czechoslovakia. Little scholarly literature investigates gender issues within Czechoslovak New Wave cinema therefore this paper is an effort to bridge the gap between these films and gender studies. The four films discussed in this paper, Adelheid, Closely Watched Trains, Loves of a Blonde, and Daisies exemplify a range of visual possibilities in the film medium, while offering new images of the individual in conflict with rigid social constructions such as masculinity and femininity. The personal testimony existing in these films was revolutionary in Communist Czechoslovakia in the 1960s, yet their sober and authentic messages about human life endure in a contemporary context.