Iluminace, 2009 (vol. 21), issue 4
Editorial
Contemporary thinking about animated film
Kateřina Surmanová
Iluminace 2009, 21(4):39-40 
The introduction to the block of articles devoted to contemporary perceptions of animation defines the themes of each theoretical essay and briefly characterizes them.
Theme Articles
Some Thoughts on Theory-Practice Relationships a Cartoon Charakter
Paul Ward
Iluminace 2009, 21(4):41-54
The essay on the relationship between theory and practice in the field of animation studies first focuses on the notion of legitimate peripheral participation, then mentions Mike Wayne's critical production, and finally defines animation as a recontextualized discourse. The author advocates an interdisciplinary approach in animation studies, which is symptomatic of the so-called weak classification. He thinks of animation in relation to the theory of mediality and is interested in it as a moving category that must be seen in a dialectical relationship with different contexts, aware of the recontextualization that the phenomenon of animation undergoes...
Performativity, Post-animation and How I Became a Cartoon Charakter
Birgitta Hosea
Iluminace 2009, 21(4):55-69
The text deals with research that aims to challenge the traditional understanding of animation. First, it summarizes ontological debates about the nature of animation, which were initiated by the need to define the boundaries of animation in the context of technological change and the need to legitimize animation as an art form. The study rejects the definition of animation as a cartoon and proposes to approach it as a performance. The author explores the relationship between the animated and the animator, between the phenomenon and the observer, breaking and crossing this boundary and proving the postulates on her own body (she is both animator and...
Animation of Film
Martin Mazanec
Iluminace 2009, 21(4):71-81
The text reflects on the nature of the definition of animation and animated film along the lines of Kubelka's discourse, which either considers animation as a supreme film technology, i.e. creating the impression of movement between a series of static photograms, or, for the same reason, condemns it as an empty concept; since cinematography operates on the principle of interesting a series of photograms, the term animation is redundant. The author extends the discursive field of animation to include intermedial intersections and specific contexts of use, conceiving it as a shifting sign that acquires meaning only in the context of a specific message,...
Animation Film: Figures and Hybridizations
Inés Jerray
Iluminace 2009, 21(4):83-97
The author examines animation from the point of view of audience reception and response. She is interested in the processes by which animation processes and addresses the corporeality of the viewer and represents the corporeality of the animated object. Both are conceived as objects of animation, subject to similar manipulations. The author names an area of inquiry between cinema and animation that is currently undergoing a lively development: the interest in the body and corporeality as a key characteristic of the medium. Through its emphasis on corporeality, animation studies collides with anthropological concerns, looking back at the field in terms...
Animation Room of One's Own. Contemporary Czech Animation through the Eyes of the Women Who Make It
Eliška Děcká
Iluminace 2009, 21(4):99-111
The study exploits the specific characteristics of animation as a marginal discourse in relation to the field of cinema. It adds the perspective of female authors to the marginal perspective, thus achieving dialogues between gender and animation studies. In this case, animation can serve as a tool for determining broader social processes, as a synecdochic image of the whole. Conversely, gender issues allow for a more detailed understanding of the institutional workings of animation as a craft and business sector.
Articles
Fictional Worlds of (Crime) Television Series
Radomír D. Kokeš
Iluminace 2009, 21(4):5-37
The author suggests an original model that can lead to a comprehensive narratological theory of serial fiction. It is based on a network of relationships between the viewer, the parts and the whole, which makes the television series a fictional arrangement that is radically different from film. The author chooses the procedure of illustrating the specific fictional arrangement of the crime series.
Interviews
Animated Film Is a Game-that-plays-itself. Interview with Giannalberto Bendazzi
Kateřina Surmanová
Iluminace 2009, 21(4):113-119
An interview with Giannalberto Bendazzi, a prominent Italian animation historian who chaired the jury at Anifest in 2009. The interview focuses mainly on the current position of animation in the context of film production, reception and film studios.
Horizon
Metric and Metaphoric Cinema (Martin Mazanec /ed./: Peter Kubelka)
Stanislav Ulver
Iluminace 2009, 21(4):126-132
Review of the monographic anthology Peter Kubelka and analysis of his work.
Two Genealogies of Film Studies (Dana Polan: Screens of Instruction: The Beginning of U. S. Study of Film. Lee Grievson - Haidee Wasson /eds./: Inventing Film Studies)
Lucie Česálková
Iluminace 2009, 21(4):133-138
Review of theoretical publications: film studies in the USA and the invention of film studios.
Control, Effectiveness, Knowledge - On the Context of Industrial Film (Vinzenz Hediger - Patrick Vonderau /eds./: Films that Work. Industrial Film and the Productivity of Media)
Lucie Česálková
Iluminace 2009, 21(4):139-142
Review of the publication Films that Work: Industrial Film and the Productivity of Media.
Story of the Photography
Events and Meetings at the Festival of Animation Film 2007 and 2008
Kateřina Surmanová
Iluminace 2009, 21(4):123-125
Three examples of intermedia use of animation in the Olomouc Animated Film Showcase.
Ad Fontes
Organization of Czechoslovak Film Actors and Production Employees / Czechoslovak Film Union (1920-1938)
Jindřich Schwippel, Tomáš Lachman
Iluminace 2009, 21(4):120-122
Establishment and development of the Association of Czechoslovak Film Actors, later renamed the Organisation of Czechoslovak Film Actors and Production Employees and the Czechoslovak Film Union in 1920-1938.
Appendix
To Eternity and Futher! An Analysis of Toy Story and the Poetics of Pixar Animation Studios
Lukáš Gregor
Iluminace 2009, 21(4):143-147
Review of the dissertation of a student of the Faculty of Arts in Olomouc.