Iluminace, 2014 (vol. 26), issue 2
Articles
Industrial Authorship and Group Style in Czech Cinema of the 1950s and 1960s
Petr Szczepanik
Iluminace 2014, 26(2):5-40 
The article focuses on the issues of industrial authorship in Czech film in the 1950s-1960s, their changes from a centralized production system to group and individual dramaturgy and the transition from extensive to intensive dramaturgy. The purpose of the study is to formulate historically specific concepts of industrial authorship that correspond to the characteristics of the state-socialist mode of production. The author constructs the industrial and social conditions that enabled the emergence of two sub-group styles that profiled themselves through mutual differentiation and competition against the backdrop of the receding socialist realism of...
Jaroslav Kučera's Experimental Points of View. An Attempt at an Analysis of a Cinematographer's Media Practice
Kateřina Svatoňová
Iluminace 2014, 26(2):41-55
The text introduces the personality and work of Jaroslav Kučera, one of the most important Czechoslovak filmmakers of the second half of the 20th century.
Uncertain Dominance. The Position of Writers in Czech Cinema of the Second Half of the 1940s
Marika Kupková
Iluminace 2014, 26(2):57-74
In the introduction, the author defines the term "literarisation" and puts it in the context of Czech cinema after 1945. She notes the position of Czech writers who stood in influential positions of artistic experts of dramaturgical supervision and at the same time in political functions of Czechoslovak post-war cinema and discusses their motivations and consequences.
"Do Not Attempt to Investigate on Your Own!" The Threshold of Decision-Making Power and Supervision of Institutions in Red Scare Movies
Martin Mišúr
Iluminace 2014, 26(2):75-98
The author of the study carries out a thematic analysis of an ideologically exclusive sample of an anti-communist cycle of feature films labelled Red Scare, which he characterises as post-war anti-communist works that focus on a perceived internal threat. The study outlines the specific position of institutions, institutions, and organizations in contemporary American society and highlights their involvement in the selected sample of films.
peripheral cosmopolitanism of Marian Crișan's Morgen
Constantin Parvulescu, Ciprian Nitu
Iluminace 2014, 26(2):99-118
An analysis of the Romanian film Tomorrow (2010) and a comparison with the French film Welcome, which has the same theme - illegal migration in Europe.
Horizon
Impure Art and Mind Games. Two Books on Alain Resnais (Sophie Rudolph, Die Filme von Alain Resnais. Reflexionen auf das Kino als unreine Kunst. / David Čeněk - Martin Kaňuch - Michal Michalovič /eds./, Alain Resnais. Kinematografia mozgu)
Petr Mareš
Iluminace 2014, 26(2):119-123
Review of two texts on Alain Resnais: a study in German Die Filme von Alain Resnais: reflexionen auf das Kino als unreine Kunst and a publication of the Slovak Film Institute: Alain Resnais: cinematography of the brain.
Theory as Manifest (Martin Čihák, Ponorná řeka kinematografie)
Martin Blažíček
Iluminace 2014, 26(2):124-126
Review of the publication by Martin Čihák: The submerged river of cinematography.
Citizens. An Asymmetrical Portrait of the Film (Briana Čechová /ed./, Všichni dobří rodáci)
Petr Bilík
Iluminace 2014, 26(2):127-128
Review of the NFA publication Všichni dobří rodáci.
Unstable Images of a Post-War Countryside (Petr Slinták, Hana Rottová, Venkov v českém filmu 1945-1969)
Alena Šlingerová
Iluminace 2014, 26(2):129-131
Review of the publication The countryside in Czech film 1945-1969: the cinematic face of collectivisation.
Archeology of Photography (Jaroslav Anděl, Myšlení o fotografii I: průvodce modernitou v antologii textů)
Martin Charvát
Iluminace 2014, 26(2):132-137
Review of Thinking about Photography: a guide to modernity in an anthology of texts.
Distribution Project TIDE. Mere Experiment, No Canibalism!
Lada Žabenská
Iluminace 2014, 26(2):138-143
The article analyses the current French distribution market and its problems focusing on art films and reports on the TIDE distribution experiment carried out in 2013 and 2014, in which four European art films were distributed in five different European countries.
Ad Fontes
Film Restoration of The Arrival From the Darkness
Jeanne Pommeau
Iluminace 2014, 26(2):144-150
The author of the article describes what was discovered during the restoration of Jan S. Kolár's 1921 film Coming from the Darkness in the collections of the National Film Archive in the holdings of written archival and oral history materials, as well as in the NFA film materials, and how these findings served in the restoration of the film.
Club of Film References and Publicists (1930-1933)
Jaroslav Štuller
Iluminace 2014, 26(2):151-154
Information about the founding and activities of the Club of Film Referees and Publicists in 1930-1933.
Appendix
Czech-German "Medienwissenschaft"
Kateřina Krtilová, Kateřina Svatoňová
Iluminace 2014, 26(2):155-159
The article reports on the bilingual project Positions and Perspectives of Czech and German Philosophy of Media, which ran from July 2013 to March 2014. The aim of the project was to initiate a dialogue between German and Czech theorists and philosophers of media and art and to create the conditions for further cooperation.