Iluminace, 2009 (vol. 21), issue 2
Editorial
Czech non-fiction film until 1945
Lucie Česálková
Iluminace 2009, 21(2):76-82 
The introduction to the block of articles on Czech non-fiction film before 1945 defines and characterizes the basic concepts and terminology, presents key specific features of non-fiction film and its capabilities using concrete examples, and gives an overview of the structure of non-fiction film production in the period 1922-1945. The author's introduction also provides a brief overview of the content of each of the articles in this thematic block.
Theme Articles
Newsreels in Nazi-occupied Czechoslovakia: Karel Pečený and His Newsreel Company Aktualita
Karel Margry
Iluminace 2009, 21(2):83-134
This translation of a study by the Dutch art theorist and publicist Karl Margry exhaustively reveals the background of the production of the Czechoslovak film weekly Aktualita during the period of the German occupation 1938-1945. The author looks at the situation of film reporting in this period through Karel Pečený's strategies and negotiations with the German authorities, and describes Aktualita as an example of collaborative production. The personality of Karel Pečený and his attitude towards the German authorities are revealed in parallel with questions concerning the organisation of film reporting within the Protectorate structures, describing...
Sacrifice in the Interests of State. Propaganda and Film Policy in the 1930s
Lucie Česálková
Iluminace 2009, 21(2):135-155
The study deals with the subsidy policy of the Film Advisory Board in relation to nonfiction film and the importance of cultural-promotional film at the turn of the 1930s and 1940s. The author uncovers the web of relationships between filmmakers, distributors, cinemas and the government and the way in which they debated with each other the function and ideal form of nonfiction film. The text traces the strategies of subsidy decision-making in light of the changing cultural and political context and views subsidy policy as a dramaturgical tool that influenced the selection of subjects and helped shape the image of Czechoslovakia's media representation...
Bratři Deglové Company and "the First Moments of Czech Independence": The History of the Founding of the Company. Its Role in the Origins of Promoting Czechoslovakia in Film
Jiří Horníček
Iluminace 2009, 21(2):156-170
The author deals with the topic of the use of film as a tool for promoting Czechoslovakia abroad. He provides a detailed insight into the business intentions of a particular Czech company (Bratři Deglové) and thus specifies the competitive field of nonfiction film producers in Czechoslovakia during the period of the establishment of the independent republic.One of the key sources of the author's research was the diary entries of Karel Degl, the director of the company. Through the company's correspondence and legal documents, the author reveals the operational background and details of the company's practical activities.
Articles
Beginnings of Dual Television Broadcastings in the Czech Republic. Changes in Czech Television's Strategy and the Main Causes of TV Nova's Success in 1994
Pavel Krumpár
Iluminace 2009, 21(2):5-59
The study examines the strategy, programming, system and organizational measures of the public Czech Television after the entry of commercial television stations in 1994 in the face of competition in the television market. It answers the question of whether this strategy corresponds to the mission of the public service media and focuses on the changes in the broadcasting scheme and programme structure. It also charts the initial manifestations of the competitive environment following the entry of commercial television stations, the sharp drop in the ratings of Czech Television and its economic impact. It outlines the main reasons for the success of...
Whole World Applauds Nationalised Cinema. The Siren at the 1947 Venice Film Festival
Lukáš Skupa
Iluminace 2009, 21(2):60-75
An analysis of the events surrounding the creation and release of Karel Stekly's film Siren and its success at the 1947 Venice IFF shows some specific features of the early period of nationalised Czechoslovak cinema, such as the methods of promotion and propaganda and the real interests of state film.
Editions and Materials
Image Chronicle of State, Factory, Family and School. Genre Variants of Czech Nonfiction Film before the WW II
Lucie Česálková
Iluminace 2009, 21(2):178-184
The author characterizes nonfiction film and reminds us that the history of documentary and nonfiction film has always been on the periphery of film historians' interest, even though a greater number of non-fiction films have been made since the beginning of cinema. These films were made with a vision of specific utility, so it is appropriate to approach them by reconstructing the context of their making and subsequent use, e.g. an industrial film shown to employees or as a company presentation, or as an educational film in schools. In addition, the author details the individual texts of a series of archival documents that follow in the following pages...
Genre Variants of Czech Nonfiction Film before the World War II
Lucie Česálková
Iluminace 2009, 21(2):185-203
Individual texts of a series of archival documents on genre variants of Czechoslovak nonfiction film from the period 1935-1940. These include an essay on family (amateur) film, an essay on the introduction of film into schools and education using film, and other texts on industrial and promotional film.
Interviews
Tales from Our Backyard. An Interview with Michael Renov
Lucie Česálková
Iluminace 2009, 21(2):171-177
An interview with Michael Renovo, American film theorist and historian with a focus on documentary film, professor and associate dean at the University of Los Angeles, on the occasion of his participation in the Visible Evidence conference in Bochum, Germany in 2007.
Horizon
Bounds of the Stardom: Media Image of Tomáš G. Masaryk as a Challenge for Theories of Film-star
Lucie Česálková
Iluminace 2009, 21(2):214-226
Meanings of the term film star not only in the narrower sense as a phrase about a particular personality, usually an actor, but also in the broader general sense of a professional non-actor personality with regard to his or her potential stardom. Analysis of hypothetical aspects of Tomáš Garrigue Masaryk's film stardom. Media image of Tomáš G. Masaryk, his construction through film, print, literature and photography. President Masaryk in documentary and reportage film, the so-called nonfictional representation. T. G. Masaryk about film.
Story of the Photography
Antonín Vlas and His Favoritfilm
Eva Strusková
Iluminace 2009, 21(2):210-213
The article, accompanied by photographs, tells about the life of Antonín Vlas, the owner of Favoritfilm, about his film business, existence, activities and the tragic end of Favoritfilm.
Ad Fontes
Bratři Deglové s.r.o. (/1912/1918 – 1952/1963/)
Marcela Týfová
Iluminace 2009, 21(2):204-206
History and information about the activities of the film production company Bratři Deglové s.r.o. in the years 1912–1963. The company dealt mainly with nonfiction film, i.e. production of reportage, educational industrial and documentary films.
Aktualita k. s. (/1916/ 1937-1953)
Tomáš Lachman
Iluminace 2009, 21(2):207-209
History and information about the activities of the film production company Aktualita k. s. between 1916–1953.
Appendix
Unbound Images: Archeology of Virtual Space in Czech Media Arts
Kateřina Svatoňová
Iluminace 2009, 21(2):227-235
The essay presents the background, explains the starting points, the direction of research, methods and goals of the author's dissertation, which, following previous work that aimed to map views of space tied to traditional representation, focuses on a more open space in which fragments of media intersect, and on the search for a new language and approach.