Iluminace, 2011 (vol. 23), issue 1
Editorial
Film is Elsewhere / Outside the Cinema
Lucie Česálková
Iluminace 2011, 23(1):63-66 
Introduction to the following group of articles dedicated to the topic Film is Elsewhere / Outside the Cinema. Basic introduction to the concepts, issues and main ideas and brief descriptions of the contributions.
Theme Articles
Filmic Experience
Francesco Casetti
Iluminace 2011, 23(1):67-77
The author specifies his notion of the "filmic experience of the spectator" and reflects on its development from the early years of cinema through the 20th century.
Where Is Cinema (Today)? The Cinema in the Age of Media Immanence
Malte Hagener
Iluminace 2011, 23(1):79-88
The author discusses the historical development of film theories in relation to the question of space - the environment of film exhibition and reception, and points out how the film industry itself is adapting to the new state of media instability by making products that can be easily distributed through a variety of ways. Thus film remains a medium that (if a film is successful, whether on television, in cinemas, on the internet or on a mobile device) offers two things: a second life in which we can temporarily remain, or a different life that we can live. At the same time, the cinematic experience transforms us. This ability to cross thresholds and...
Examining the Place of Video Mapping
Sylva Poláková
Iluminace 2011, 23(1):89-110
The article describes the implementation of the phenomenon of videomapping in the Czech environment. It's concerned with the use of free space projection on any object, e.g. on building walls and interiors or in the wild. Videomapping has wide uses in the fields of architecture, advertising, scenography, etc.
Articles
From Social Satire to Melodrama. Adaptations of Oskar Braaten's Plays
Karolína Stehlíková
Iluminace 2011, 23(1):5-20
Analysis of Norwegian film production to date and a brief overview of Norwegian cinema in the context of historical facts. The relationship between Norwegian film and theatre, their interdependence. The personality and work of the writer, playwright and director Oskar Braaten and film adaptations of his plays. Analysis of the films The Great Christening (Den store barnedåpen), Good People (Bra mennesker) and The Child (Ungen).
Czech Television as a Film Producer 1992-2002 (Part 2)
Pavel Krumpár
Iluminace 2011, 23(1):21-61
An analysis of the support of national cinema by Czech Television between 1992 and 2002, an overview of the programme line-up and the introduction of feature films into broadcasting in individual time slots. Czech Television as a producer of Czech films. Television drama production vs distribution films from the producer's point of view. The relationship between Czech Television and the Association of Producers in Audiovisual. Other forms of support of Czech film by Czech Television. The Bio Illusion project. Film and television producer Čestmír Kopecký and his work at ČT.
Editions and Materials
Film in the Places of "Idle Time"
Lucie Česálková
Iluminace 2011, 23(1):111-117
The article provides historical evidence of the tendency to relocate the cinematic experience on purpose to an environment outside the space of a regular cinema and recalls the project of an information cinema at Prague-Ruzyně Airport in 1947 and the screening of films in ČSD dining cars in the 1950s. Materials documenting the creation of both projects follow.
Horizon
Zuska's Networks of Analogies and Deleuzian References (Vlastimil Zuska, Kruté světlo, krásný stín. Estetika a film)
Radomír D. Kokeš
Iluminace 2011, 23(1):131-138
Review of Cruel light, beautiful shadow. Aesthetics and film, a publication of the leading Czech aesthetician Vlastimil Zuska.
Ad Fontes
Screenings at Prague Ruzyně Airport's Waiting Room and Czechoslovak Railways' Dining Cars
Lucie Česálková
Iluminace 2011, 23(1):118-127
Materials documenting the creation of the projects of the information cinema at Prague-Ruzyně Airport in 1947 and the screening of films in the dining cars of Czechoslovak Railways. The selected documents summarize the motivations for the creation of both projects, including comments and objections to their implementation. The cinema at Ruzyne Airport was demonstrably in operation by the end of January 1949, while the screening in the ČSD dining cars was never carried out.
Frič Martin (1908-1968)
Tomáš Lachman
Iluminace 2011, 23(1):128-130
A brief biofilmography of director Martin Frič and an introduction to his estate, which contains correspondence and private documents, scripts, unrealised film concepts, script reviews and records from the meetings of the artistic leads of Barrandov studio's production groups. Frič's estate is part of the National Film Archive's collections in Prague.