“I applied for the Documentary Film Department with the determination to capture the truth. But, as the band Elán sing in their song, H. Ch. Andersen: “That was the world of beautiful fairies and kings, where the truth wins, where the truth wins, it seems too little to me now, I am learning to live again, learning to live again.”
At a certain point in time, I realised that not only is ‘being right’, or truth, simple – truth also means standing behind a certain status quo, because only the thing on which agreement prevails at a time is true. So, instead of capturing the visible as the truth, I became interested in the lie, or in making the invisible – something that is to happen yet – present. To paraphrase Nietzsche, it is the lie that transforms the situation in the historical sense, since it is the lie that is not true at the time, that is not visible at the moment, that is the anticipation of a change. Is not the lie of Czech Dream substantial in that it makes visible, in real time, the principles of social mystification that we perceive as true and obvious? Were there no greater liars, in their respective contexts and times, than Jesus Christ and Giordano Bruno? Only the invisible can happen yet. Without relating to the invisible, we take away the possibility of being different. So, the lie and love must win over the truth and hate. Hate stems from the need to ‘be right’, or to hate the others. But if we lie to the world with love for the world, so that we are not lying for our own purposes, then the world can be more loving. Love is not just an emotion – love is inextricably tied to thinking. There is no thought without the internalising perception of what is being thought. Of course, lying without the truth is impossible, so it is necessary to know what is deemed to be true. Péter Esterházy starts his book, Harmonia caelestis, as follows: ‘1. It’s damned difficult to lie if you don’t know the truth.’”
A documentary film and TV programme author. A dramaturge, pedagogue at FAMU and JAMU, a former Czech TV dramaturge and journalist. The programming director of the Czech TV Brno team and lecturer at the Institute of Documentary Film. A graduate of the Faculty of Social Sciences of Charles University and KDT FAMU. His film Grandmother Němcová’s Diary (2000) won the grand prize at Prague’s FAMUfest. I Love My Boring Life (2009) won the Best Czech Documentary prize at the Jihlava IDFF. Jan Gogola has written many reviews, articles and essays, including The Death of Documentary Film (Borders in Film, NFA 1999).
As a dramaturge he was involved in many documentaries including Czech Dream (dir. Filip Remuda, Vít Klusák), 66 Seasons (dir. Peter Kerekes), Cooking History (dir. Peter Kerekes), Private Century (dir. Jan Šikl), Dust Games (dir. Martin Mareček) et al.
Born in Uherské Hradiště on 24 August 1971