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The article focuses on the changes of Czech film viewers' attitudes to cinemagoing during the COVID-19 pandemic. It presents an analysis of three focus group discussions performed in November 2021 with Czech film viewers and describes differing reactions to the pandemic in terms of people's cinemagoing practices. It concludes that only enthusiastic film viewers with more extensive stocks of film-related knowledge remained faithful cinemagoers during the pandemic, whereas others were more difficult to attract back to cinemas. Some viewers expressed various levels of concerns and fears related to the pandemic, others expressed opposition to mask mandates, a portion of the Czech population was even annoyed by both. Furthermore, rising prices of cinema tickets were mentioned among reasons why people stopped going to cinemas or attended them less frequently. However, cinemagoing is an activity connected to various social interactions and other consumption activities, which makes it an important part of people's lives and, as recent data on cinemagoing suggest, most viewers are likely return to cinemas, despite the uncertain situation. [ABSTRACT FROM AUTHOR]

The study deals with the relations between literature and film industry from the 1910s to 1945. It draws attention to the publication of screenwriting manuals in the 1910s and 1920s aimed at the lay user with no literary experience. It then pays great attention to the organisation of theme competitions and other similar events, organised in the early 1920s first by production companies, but in later years exclusively by industry associations of film producers. During the period of German occupation under the Protectorate of Bohemia and Moravia, the Czech-Moravian Film Headquarters organised these competitions as an umbrella organisation of the self-government with a privileged position. The theme competitions were characterised by a very high participation of authors (1,040 themes in the 1941-1942 competition), and in each of them, among the prize-winning works, there were themes that were made into films. Through these competitons, the film producers tried to attract established writers to collaborate with the film, to raise the level of screenwriting and thus to stabilize the literary background of the domestic film industry. The study is linked to an edition of archival documents that provide insight into the operation of the dramaturgy department of Lucernafilm, one of the two most important film companies of the Protectorate period, and a closer look at the 1944 action of Czech writers. [ABSTRACT FROM AUTHOR]

Shortly after its theatrical release on November 4, 2004, the Czech teen comedy Snowboarďáci (The Snowboarders) became a sensation. The success of Karel Janák's full-length debut was remarkable in two respects. On the one hand, the comedy aimed at a teenage audience, that is, an audience that domestic cinema neglected for some time. At the same time, The Snowboarders stimulated the production of thematically related films. This study explores whether it is possible to consider this small group of teen comedies produced during the 2000s as a film cycle. For this purpose, the article uses a model of film cycle development proposed by Richard Nowell. The scheme helps us to capture the uniqueness of the teenage cycle at a given time. However, its application to the Czech film industry shows certain limits. That is why the production practices of each film are considered. For the first time, the study reveals details on how individual producers aimed for profit and how they worked with the concept of genre and film cycle while producing their films. In sum, the study questions the causal development of the cycle and shows how several factors contributed to its formation and demise. [ABSTRACT FROM AUTHOR]

In this article I argue that debates about Kolya (1996) and the images of its two authors Jan and Zdeněk Svěrák that were circulating in the media at the time of its release reveal several hopes and anxieties about Czech national cinema's coming to terms with the effects of post-communist transition. I will analyse interpretations and discourses about the film circulating primarily in Czech press. The aim is to look at how the talk about Kolya developed as several discourses and interpretative strategies were introduced in different attempts to make sense of the film. The time frame I focus on here starts before the film's release and reaches until the coverage of the Academy Awards ceremony in 1997 where the film received an Oscar for the Best Foreign Language Film. I argue that in this timespan, the film's value was negotiated and contested prominently along a set of two references – the 'truthfulness' of the Czechness it represents, and the importance of international recognition for Czech cinema. I analyse these discourses in the context of changing conditions in Czech cinema after the Velvet Revolution in 1989. [ABSTRACT FROM AUTHOR]

Our study provides a comparison of recent Czech and Romanian production practices and state funding policies for film production, as well as, more broadly, of two film cultures that are less similar than research in the field has often assumed. The study presents the particularities of each national industry and shows how production practices and funding schemes influence each other. It also advances an idea to better understand the functioning of these two film cultures. It contends that, thirty years after 1989, they should be rather framed as European cinemas, and not only, as research has predominantly proposed, as Eastern European, small, or post-socialist. [ABSTRACT FROM AUTHOR]

The Covid-19 pandemic disrupted virtually all domains of the film industry, from the production, through distribution to exhibition of films. As opposed to flourishing VOD platforms, cinemas have been hit particularly hard and with them film festivals, which had to choose between postponing their terms, becoming online or hybrid, or being cancelled altogether. The article focuses on festivals that either take place in Eastern Europe or are focused on the cinema of the region. It first briefly outlines the history of film festivals in Eastern Europe, then it summarizes the impact of the Covid-19 pandemic on cinemas and VOD platforms and finally presents three case studies of festivals and their activities during the pandemic. The three festivals streamed at least some films from their programmes and endorsed other activities, such as online industry events, drive-in cinemas and Virtual Reality events. The study concludes that the degree to which film festivals could successfully take place during the pandemic depended more on the type of festival than on its geographical location or geographical focus. Eastern European festivals were not lagging behind the West in this respect and many European festivals were, in fact, cooperating and learning from one another. [ABSTRACT FROM AUTHOR]

Whenever a curator attempts to present films from the very beginnings of cinema to contemporary spectators, multiple pressing questions always come to mind. Shall the ephemeral one-minute scenes be shown individually or as parts of larger wholes, sorted out according to thematic or chronological affinities? How to successfully reproduce not only the films' content but also their inherent technological features or the distinctive quality of early cinematic experience? How is it possible to make the audience aware of the historical distance that the surviving archival artifacts covered? How can we navigate between the film materials' past, present, and future?. This study brings forth the idea that to understand the earliest cinematic works in a richer way, film curatorship may adopt a more creative and interventionist approach -- not in order to turn the artifacts into something entirely different but to highlight their hidden cracks and ambiguities. More specifically, it examines a videographic essay titled The First Frames of Czech Cinema (Jiří Anger and Adéla Kudlová, 2021) that plays with the paradoxes and contradictions of the recently digitized films of Jan Kříženecký (1898-1911), or, more precisely, of the very first images of the works we see. Both the videographic essay and its written accompaniment showcase that curation of uncertain, disfigured, and fragmentary archival artifacts from the beginnings of cinema does not necessarily have to limit itself to filling the gaps; instead, it can embrace their lacunas as windows onto all the things that make the earliest cinema so strange and fascinating. [ABSTRACT FROM AUTHOR]

This paper is dedicated to the analysis of the development of Central European road movies after 2004, with special consideration given to Polish and Czech cinematography. The films which have been discussed are Polish productions Francuski numer (2006, directed by Robert Wichrowski) and Handlarz cudów (2009, directed by Bolesław Pawica and Jarosław Szoda), as well as Czech Rodina je základ státu (2011, directed by Robert Sedláček) and Pusinky (2007, directed by Karin Babinská). Although these films – to a certain extent – follow the fixed paths, we put forward the assumption that at the same time, they use the tools of road movies in an innovative and varied manner, responding to problems, dilemmas and perspectives of Central Europe after 2004.

In 1998, the Czech National Film Archive (Národní filmový archive/NFA) classified sixty-seven feature-length fiction films produced between 1930 and 1945 as generic melodramas in their volumes of Czech Feature Film (Český hraný film). This essay considers how this retrospective genre classification offers entry into understanding melodrama's aesthetic and cultural operations in Czech cinema. The focus is less on how the NFA defined the genre, than how these volumes, in bringing melodrama into critical view, reveal important assumptions about its cultural and historical affiliations with foreign co-productions. Starting by outlining some of the problems presented by the volumes of Czech Feature Film, this essay highlights some key questions that emerge in studying the complicated relationship between Czech and German popular film genres. In particular, it focuses on melodrama's relationship to films made during the Nazi occupation of the Protectorate of Bohemia and Moravia, when films were necessarily co-produced with the Nazified film industry. Through a close reading and reception study of Saturday (Sobota, Václav Wasserman, 1945) this essay considers how the perception of melodrama films as light entertainment during the Nazi occupation provided yet another opportunity for these films on Czechoslovak state television during the post-1968 period of normalization. [ABSTRACT FROM AUTHOR]

The study assesses the impact of the digitalization of film projection and the rise of online distribution on the choice of films available to viewers in Czechia from 2007 to the present. It briefly summarizes debates on the availability of films in the digital era and examines implications of these debates for the small markets of Central and Eastern Europe. The first part of analysis focuses on theatrical distribution. It demonstrates that the selection of films available in Czech cinemas has widened after the digitalization of film projection, however, with a disproportionately high prevalence of domestic and European films and to the detriment of non-European non-US films. The second part explores through a case study of the VOD portal AeroVOD the offerings provided by Czech online distribution and concludes that they are shaped by similar principles as those governing theatrical distribution. Furthermore, the analysis shows that older films are scarcely included in the VOD catalogue, which is understandable from the perspective of industrial logic but hardly provides the abundance of films originally promised by online distribution. Subsequent analysis shows how festival awards influence the availability of films in Czech distribution. [ABSTRACT FROM AUTHOR]

This article analyzes the relationship between the fictional and the actual in Petr Zelenka's The Karamazovs (Karamazovi, 2008). I discuss how this relationship is established, proposing a typology of connections between these two domains, and explore its philosophical implications for understanding the ontology of the actual world in the film. Drawing on Derrida's notion of supplementarity, I argue that the fiction–actuality relationship in The Karamazovs is based on a paradox: it simultaneously subverts and maintains the ontological status of the actual world. On one hand, therefore, Zelenka's film suggests that what is taken to be actual is neither self-sufficient nor anchored in, or illustrative of, any objective ontological structure. On the other hand, the film emphasizes the distinction between fiction and actuality, implying that the notion of the actual world should not be 'fictionalized' or simply discarded. In this way, I argue, The Karamazovs suggests an ontology that redefines the notion of the actual world in non-foundationalist terms. [ABSTRACT FROM AUTHOR]

At the most general level, this article wanted to answer the question of what it requires to write an aesthetic history of Czech cinema. As such, it tried to sketch possibilities of a research project on a poetics of Czech cinema illustrated through an example of Czech cinema to the period around the opening of Barrandov studios in 1933. The poetics of cinema explores construction principles of film work regarding (a) their relationship to individual works and groups of works, and (b) their relationship to particular empirical conditions of the creation of these works in synchronic and diachronic perspectives. The article argued in accordance with these starting points that an internal cohesiveness of a research corpus is key for such a research project. However, Czech cinema represents a very diverse group of films. What is more, it is hard to decide what categories all the films fall into, let alone get a convincing corpus based on them. Yet, as was discussed in the first part of the text, if we define the research corpus based on a dominant language, dominant place of production and preferred distribution type, we can arrive at a logically consistent corpus of so-called regional cinema. In other words, it is possible to create a group of films that aim at functionally comparable goals. In the second part, the article began from the long-term perspective, by a polemics with such explanations of poetic approaches to regional cinemas in comparison to Hollywood cinema on the one hand, or international stylistic tendencies on the other. The first argument was that in the case of Czech cinema, in the 1930s studio requirements for systematic work and standard procedures were confronted with practices, preferences, and systems of norms from periods when filmmakers adopted them in an unsystematic way and with no externally prescribed standards. The second argument was that there were several parallel dominant systems of feature film norms in the 1920s that did not tend towards unification. They follow a different creative logic than in the case of international norms. The third part of the article came back to the question of the relationship between creative and studio continuities from a more short-term perspective in the analysis of the first film made in the Barrandov studios, Murder on Ostrovní Street from 1933. The article asked the following question: To what measure and in what ways is Murder on Ostrovní Street a project representing a stylistic continuity or, discontinuity, in its relation to films made in previous years? The text demonstrated that although the film was supposed to perform a variety of self-conscious film techniques, it did so in continuity with conventionalized practices of Czech films and filmmakers from previous years. The fourth part of the article, the epilogue, reflected from previous findings to more general reflections on how research into so-called Czech regional poetics can contribute to the overall knowledge of an aesthetic history of Czech cinema. [ABSTRACT FROM AUTHOR]

After 1989, the Czech film industry underwent a transformation from an integrated state-funded monopoly to numerous largely privatized and disintegrated film institutions and activities that had to struggle for their existence in the new capitalist economy. The change was accompanied by debates regarding the state funding of cinema, which developed from early naïve neoliberal discourse through struggles for the internal stability of public financing of film to eventual endorsement of national mercantilist discourse that supports Czech national cinema's competitiveness on international markets. The analysis presented in the article and focused on recent discourse of Czech Film Fund revealed that current Czech film policy is largely in line with film policies of Western European countries. Yet, in contrast to non-post-socialist countries, it is conspicuously devoid of centre-left agenda in terms of equality and diversity on the labour market in the film industry. It also puts little emphasis on the reinforcement of social cohesion through cinema. As contemporary Czech society is becoming increasingly politically polarized, the accentuation of these issues could be beneficial for the state and its inhabitants for years to come. [ABSTRACT FROM AUTHOR]

The theme of Czech-German co-habitation in the Sudetes, from where over two million German citizens were uprooted after the Second World War, has become one of the most politicalised themes in Czechoslovakian and then Czech cinematography. In this study, the analyses are primarily focused on motifs linked with representation of historical and present Sudetes, and development of Czech-German relations. Concretely, it focuses on nationalistic actions, the escalation of Czech-German relations after Hitler's coming of power in Germany, conceding the Sudetes to the Reich, expelling the Germans after World War Two, the arrival of Czechs after the war, fate of ethnically-mixed families, and protection of national borders. The aim of the study is to describe changes in the discourse of film and television representations of history in Czech society following the creation of Czechoslovakia in 1918 until the present day, and interpret these in the context of political changes. In particular, I will focus on the reasons which caused the deformation and silencing of historical events linked with those in the Sudetes. The analyses conducted along the diachronic axis should prove the hypothesis that changes in the representations of history and present Sudetes correspond with changes in society, and strongly present the contemporary Czech(oslovakian) position to the 20th century history. [ABSTRACT FROM AUTHOR]

A graduate of painting and graphic arts at the Higher School of Arts and Crafts in Brno, Ester Krumbachová became known in her professional life as a costume designer, set designer, scriptwriter, author and finally a director. However, she was often pushed to the margins of authorship with the label of "inspiration and just a muse". There are at least a few basic themes that organize the specificity of Ester's artistic discourse. There are costumes, and props for which she was responsible: hats, shawls, black umbrellas, silk shirts, camp coats or overalls made out of newspaper and twine. But the whole galaxy of food, meal preparation, feeding and gluttony demands describing. The films Ester was involved in, as a writer or director, are woven from it. The specificity of the interior, often adjacent to the "metaphorical and mental" map of the artist's apartment, becomes an important background for the platform of culinary images. The recorded registers seem to speak of food and clothes, typically female areas of interest and activity. The main aim of this article will be to treat them as semantically important mechanisms of communication, mostly visual and non-verbal. [ABSTRACT FROM AUTHOR]

From the mid-1970s to the end of the state-socialist regimes in Central Europe in 1989, the Czech scriptwriter and dramaturg Pavel Hajný successfully fostered parallel careers in two national film industries: between 1975 and 1989, Hajný was personally involved in, or indirectly participated on 11 strictly Polish projects or Czechoslovak–Polish co-productions. The theoretical and terminological framework of the analysis is borrowed from William H. Sewell Jr.'s concept of agency as an effective control over cultural schemas. The article examines the way Hajný used his resources when facing the schemas established in the Polish production culture. The authors claim that the effectiveness of Pavel Hajný as an agent travelling successfully between the Czech and the Polish film industries resulted from two essential factors: the compatibility of his knowledge as a scriptwriter and dramaturg with the demands of the Polish units, and the flexible adaptation of his skills to the schemas he was confronted with in the Polish production culture. It was his attitude, which focused on the fluent transfer of compatible norms rather than on changing the schemas, that helped him to establish a position as a sought-after craftsman. His career, not being a model of transnational fluidity, is exemplary of a strategy intentionally designed for crossing between two production cultures that were structurally compatible, but that evinced discrepancies in ideological, aesthetical, and professional norms. [ABSTRACT FROM AUTHOR]

After the occupation of the Czech lands by Nazi Germany in March 1939, Czechs embraced domestic (and ignored German) movies more vigorously than they had before. This implies that the occupation caused notable changes in the mode of movie reception. After about 1942, however, the popularity of a portion of German production was increasing. This fact raises the question of whether cinemagoers' values and identities were undergoing significant change under the occupation. This paper focuses on Brno, a city with a long history of coexistence and rivalry between those who identified as Germans and as Czechs. I argue that watching a Czech movie became one of the behaviors that defined the Czech national identity. The later embrace of German entertainment by Czechs was accompanied by two strategies that redeemed watching the desired cinematic distraction from being an un-Czech behavior: by indexing the movies as not fully German due to the presence of non-German stars, and by a parallel redefinition of cinemagoers' Czech behavior from choosing Czech movies to choosing cinemas identified as non-German. These strategies represent culturally specific reactions by Czech audiences living in a nationally divided city to the distribution and exhibition practices applied during the occupation. [ABSTRACT FROM AUTHOR]

El presente trabajo expone las relaciones intermediáticas entre los relatos El pozo y el péndulo (1842) de Edgar Allan Poe y La tortura por la esperanza (1888) de Auguste Villiers de L’Isle Adam mediante su adaptación cinematográfica realizada por el cineasta checo Jan Švankmajer bajo el título Kyvadlo, jáma a naděje (1983). En principio, se detalla la forma en que ambos relatos fantásticos se relacionan en estructura y temas según las nociones narratológicas de la teoría literaria. Asimismo, se expone el procedimiento de adaptación interpretativa de Švankmajer, a partir de una lectura que aúna sendos textos para crear un nuevo argumento. De esta manera, se describen los mecanismos de transgresión presentes en la opera del artista checo, la cual se fundamenta en la incorporación y resignificación de tres aspectos esenciales como son la influencia de la poética surrealista, la tradición del teatro de marionetas de Praga y la presencia de la literatura fantástica.

Faust (1994) is the first feature film directed by Jan Švankmajer after the dissolution of Czechoslovakia and probably the most thorough summation of his 'realized' Surrealism, not based on the evocation of a dreamlike, nonsensical world but marked by "an evident political significance, a direct incisiveness of the individual on collectivity" (F. Pitassio). Švankmajer's reinterpretation of Doctor Faust's myth, set in a present-day Prague, is a one-of-a-kind melange that blends different Faustian sources (Marlowe, Goethe, Gounod and the Puppenspiel tradition) in order to convey the director's concerns about globalized societies, primarily addressing the process of disintegration of individual identities, the disqualification of corporeality and the subjugating power of media on reality. After introducing the main themes and motifs of Švankmajer's film aesthetics, the article focuses on the analysis of several sections of Faust, in an attempt to highlight its socio-political subtext. [ABSTRACT FROM AUTHOR]

The article focuses on the introduction of multiplexes to Czechia through a discourse analysis of articles in the Czech daily press related to multiplexing and government reports from the years 1996 to 2011. The text summarises the historical context of multiplexing in the West and theoretical works on multiplexing published to date. The subsequent part, methodologically based on the discourse analysis as delineated by Charles Acland, explores how multiplexes were constructed in Czech newspapers and reports published annually by the Ministry of Culture of the Czech Republic. [ABSTRACT FROM PUBLISHER]

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This article analyses the semiotic grammar of food in Jan Němec's surreal filmDémanty noci/Diamonds of the Night(1964). After first locatingDiamondswithin the Czechoslovak New Wave and a tradition of Holocaust literature and cinema, I explore the film's representation of hunger and thirst. My analysis synthesises the film with Primo Levi's evocative meditation on the victims of the Holocaust, arguing that Němec's protagonists become a form of ‘living hunger’, and enter into a ‘condition of pure survival’. The film thus comments on the totalising Nazi mission and its attempt to desubjectify its victims by laying claim to their bodies. [ABSTRACT FROM PUBLISHER]

The article concerns six movie adaptations of Bohumil Hrabal's books (Pearls of the deep, Closely observed trains, I'll sell the house in which I can live no more, Cutting it short, The snowdrop festival, I served the king of England), created by Jiří Menzel. It includes not only short profiles of both the writer and the director and an attempt at describing those two's relationship while making the movies, but also an analysis of the work's themes and distinguishing features of their movie versions. [ABSTRACT FROM AUTHOR]

This article examines new insights into Czech and Slovak cinema of the 1960s and the role of the Czechoslovak New Wave. It is prompted by Martin Šulík's 26-part television series Zlatá šedesátá/The Golden Sixties (2009) and his two part feature documentary 25 ze šedesatých aneb Československá nova vlna/25 from the Sixties or the Czechoslovak New Wave (2011). Together they make up what is probably the most systematic account of any national film movement yet attempted. After a discussion of the initial critical reluctance to address the subject, I examine the insights offered by the directors, cinematographers, writers, and actors interviewed in the television series. I consider the role of FAMU (the Prague Film School), and the literary and theatrical influences of the 1960s that define cinema as part of a much wider cultural movement. The article also considers the issue of style, particularly the 'poetry' of the image and various manifestations of realism, concluding with a consideration of the contribution of Slovak cinema, for which the films provide one of the first detailed accounts. [ABSTRACT FROM AUTHOR]

The present study introduces the network of institutions that were involved in an (unofficial) movement utilizing the educational potential of film in inter-war Czechoslovakia, and uncovers its direct, but also indirect consequences. Originating between pedagogues and tutors, scientists and amateurs, the network soon exceeded its main target of the utilization of cinemas educational potential and revealed and solved problems of format standardization for small-gauge film screenings and unprofitable distribution circuits. As such, it became the main platform of debate as well as for enforcement of such culturally important institutions as the Czech film museum, film archive, film school or cine-clubs. The impact of educational activities within the cinema framework in the Czech case, gives us the opportunity to reassess the whole film-education concept with regard to audience enlightenment (in the sense of both educating audience by the film and about the film), as well as with regard to the formation of film culture. [ABSTRACT FROM AUTHOR]

This article discusses three Czech road movies from the post-1989 period that seek to map the place of the Czech nation in Europe and between conceptions of 'East' and 'West'. I analyse Jízda/The Ride (Jan Sv?rák, 1994), Výlet/Some Secrets (Alice Nellis, 2002) and Úcastníci zájezdu/Holiday Makers (Ji?í Vejd?lek, 2006) as representatives of the road movie genre and within the context of Czech and Czechoslovak history and cinematic tradition. I argue that while these films do not cross the borders that were opened by the fall of communism, they do use the road motif to engage with questions of identity, encouraging cinematic travellers and audience alike to consider the place of the Czech Republic within Europe and the world. [ABSTRACT FROM AUTHOR]

The present paper focuses on two well-known representations of the Holocaust in Czech cinema, Alfred Radok's Distant Journey and Jan Nemec's Diamonds of the Night, belonging to two distinct periods and cinematic traditions: the former is an illustration of avant-garde expressionism, blending documentary footage and fictional events in a highly stylised production, while the latter is representative for the so-called New Czech Wave movement, developed in the at the beginning of the 1960s under the influence of Italian Neorealism, the French Nouvelle Vague and the surrealist tradition in cinema. The analysis of the films will deal with the representation of the Holocaust as trauma in the two productions, each of them in the context of its own age. [ABSTRACT FROM AUTHOR]

This article addresses the theme of nuclear disaster in Czech cinema of the second half of the 20th century. Examining two films based on Karel Capek's cautionary novel Krakatit (Krakatit, 1947; Temne slunce [Dark Sun], 1980) and the 1966 feature Konec srpna v hotelu ozon [The End of August at Hotel Ozone], it demonstrates the impact of the changing political situation on the Czech film industry and the resulting film productions. These case studies allow the author to demonstrate the close interconnectedness between the films' texts and their respective discursive fields, as well as the impact of fear of nuclear apocalypse in the population at large. [ABSTRACT FROM AUTHOR]

Two recent Czech films, Jan Svěrák's Tmavomodrý svět/Dark Blue World (2001) and Vojtěch Jasný's Návrat ztraceného ráje/Which Side Eden (1999) have employed a dual-language format of English and Czech. This paper investigates the artistic and cultural reasons, and commercial demands for such a decision within the context of contemporary Czech culture and the worldwide film industry. Svěrák has been outspoken in his criticism of the pressures placed on him to film the entire film in the English language, a criticism absorbed into and dealt with in the film. Concurrently, he employed well-known British actors, which lent the film wider distributor and audience appeal. This paradox indicates the pressures on the film industry, which, until recently, has regarded subtitled 'foreign' films as commercially non-viable and the pressures on the Czech film industry constricted to a small native-language audience base. The paper examines to what extent both films reflect these pressures by choosing a dual-language format, and whether they are indicative of a change in Czech film. The paper will explore this aspect also in the context of world film, which has become more acceptant of dual-language films not only in the art-film sphere but also in mainstream Hollywood. [ABSTRACT FROM AUTHOR]