The May 1961 premiere of The Song of the Gray Dove (Piesen o sivom holubovi, 1960) directed by Stanislav Barabas (1924-1994) marked the start of filmmakers' use of ideologically unassailable themes (in this case, the Slovak National Uprising) to tell stories that were true-to-life and yet were filmed creatively. The Song of the Gray Dove rejected the narrative topics loved by Palo Bielik, who was the most creative member of the founding generation of filmmakers. By using boys as his heroes, Barabas was able to concentrate more on children’s fears, games, and happiness, which had not vanished even during the war years, rather than on reeducating viewers. Critics took notice of the film (it won the 1961 Czechoslovak Film Critics' Award together with the Czech film People Live Here Too [Vsude zijí lidé; dir. Jirí Hanibal and Stepán Skalsky, 1960) because of its intimate storytelling—six stories loosely connected by child-heroes—and its premise that children’s distorted reality can be more truthful than a so-called objective reconstruction of history. Critics also noted that the film was not without hope, despite its tragic ending.
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1961年5月,斯坦尼斯拉夫·巴拉巴斯(1924-1994)执导的《灰鸽之歌》(Piesen o sivom holubovi,1960)首映,标志着电影制作人开始使用意识形态无懈可击的主题(在本例中是斯洛伐克民族起义)来讲述真实生活但又富有创造性的故事。《灰鸽之歌》拒绝了Palo Bielik所喜爱的叙事主题,他是创始一代电影制作人中最具创造力的一员。通过将男孩作为英雄,巴拉巴斯能够更多地关注儿童的恐惧、游戏和快乐,而这些恐惧、游戏、快乐甚至在战争年代也没有消失,而不是重新教育观众。评论家们注意到了这部电影(它与捷克电影《人们也生活在这里》一起获得了1961年捷克斯洛伐克影评人奖[Vsude zijílidé;导演JiríHanibal和Stepán Skalsky,1960),因为它讲述了亲密的故事——六个由儿童英雄松散连接的故事——以及它的前提,即儿童扭曲的现实可以
灰鸽子之歌 (Piesen o sivém holubovi)于1961-05(戛纳在捷克斯洛伐克上映。