Iluminace, 2018 (vol. 30), issue 1

Thinking Through the Medium Itself. Audiovisual Essay as a Research Method and a Result of Academic Trends

Jiří Anger

Iluminace 2018, 30(1):5-27 | DOI: 10.58193/ilu.1549  

This study focuses on the practice and theory of the audiovisual essay form, with particular emphasis on its actual and potential uses in the field of academic film studies. It explores the ways in which the audiovisual essay and the emerging videographic film studies can enrich current research methods, especially how they allow to examine audiovisual phenomena through the means of the audio-vision itself, and not just through written texts, and also how the form responds to contemporary trends in film and media theory. Four selected audiovisual essays from the online platform [in]Transition: Journal of Videographic & Moving Image Studies serve...

Ester's Murders: The Killing of Film and the Birth of Acinema

Libuše Heczková, Kateřina Svatoňová

Iluminace 2018, 30(1):29-44 | DOI: 10.58193/ilu.1550  

The study deals with the film Murdering the Devil (Vražda ing. Čerta, 1970), directed by costume designer Ester Kumbachová, and its various media mutations (film story, radio adaptation, screenplay). The film involves three elements - elaborate mise-en-scene, buzzing orality, philosophical humour - which present exciting traces of the intellectual and artistic life of Ester Krumbachová. This film was chosen precisely because it allows us to unravel the transitional period in which the creative atmosphere of the Sixties still lingered but the basic features of normalization were already prefigured. The study also aims to show the diversity of Krumbachová's...

Moving Image and Socialist Pupil. Film Reception Research within the Pedagogical Dispositif in the 1950s and 1960s

Lucie Česálková

Iluminace 2018, 30(1):45-62 | DOI: 10.58193/ilu.1551  

No other teaching tool received as much teacher's methodical attention as film, and examination of pupils' reception should help teachers to define specific strategies for its integration into teaching. Despite the authoritative conditions traditionally created by school institutions, teachers were concerned about the instability of the meaning of moving image. These fears in the 1950s and 1960s created a series of research into children's film reception within a pedagogical dispositif. The present study analyzes how the school's institution responded to political assignment under the conditions of state socialism, and, as a result, modulated the dominant...

Preparation of the Second Channel of the Czechoslovak Television in Archival Documents

Jana Čížkovská

Iluminace 2018, 30(1):68-91 | DOI: 10.58193/ilu.1553  

This edition of archival materials maps the long and complicated preparation of Czechoslovak Television's second channel, whose launch in May 1970 was primarily motivated by an effort to create an ideological counterweight to cross-border Western broadcasting, although the project's implementation was hampered by a chronic lack of technical and production capacity.

Searching for a Hidden. Director-Cinematographer Collaboration in the History of Hollywood Film (Christopher Beach, A Hidden History of Film Style: Cinematographers, Directors, and the Collaborative Process)

Ondřej Belica

Iluminace 2018, 30(1):99-103  

The text reviews Christopher Beach's publication, which examines the historical development and significance of collaboration between directors and cinematographers through an analysis of famous Hollywood creative tandems. Despite reservations about the author's technical expertise and his neglect of the European context, the reviewer appreciates the book's contribution to understanding the complexity of the creation of the film image.

Animasophy or Private Science Without Rules (Ülo Pikkov, Animasofie: Teoretické úvahy o animovaném filmu)

Matěj Forejt

Iluminace 2018, 30(1):104-107  

The text critically reviews Estonian animator Ülo Pikkov's book Animasofie, which, despite its ambitions to define the field theoretically and Eliška Děcká's comprehensive afterword, it considers methodologically unfounded, factually inaccurate, and, in the context of Czech professional literature, superfluous, which may paradoxically deepen mistrust of the field of animation studies.

Tracing the Memory of Hermína Týrlová (Jana Janíková - Lukáš Gregor, Ateliér Hermíny Týrlové)

Pavel Bednařík

Iluminace 2018, 30(1):108-111  

The text reviews the publication Ateliér Hermíny Týrlové (The Studio of Hermína Týrlová), which it praises as a visually attractive and commendable attempt to revive interest in the work of this important Zlín animator through interviews with contemporaries, but also criticizes its methodological inconsistency, the low professional level of film analysis, and the untapped potential for exploring the broader political and production context.

Script Writing is Like an Architectural Drawing. Interview with Jakub Żulczyk

Ondřej Pavlík

Iluminace 2018, 30(1):63-67  

An interview with Polish writer and screenwriter Jakub Żulczyk explores the specifics of transitioning from literary work to writing for television, describes in detail the process of creating the series The Teacher and Dazzled by the Light, and reflects on the limits of creative freedom and collaboration with producers at stations such as Canal+ and HBO.

Ludmila Wegenerová-Salmonová 1897-1968 (1999)

Kristýna Doležalová

Iluminace 2018, 30(1):92-98 | DOI: 10.58193/ilu.1554  

Through a description of the archive collection stored at the National Film Archive, the text reconstructs the life and career of actress Ludmila Wegenerová-Salmonová, who, despite her Czech origins, became famous exclusively in German silent cinema alongside Paul Wegener, before returning to Prague after the war to work as a teacher.

A Case That Should Not Be Closed. The Rise of the Detective Film, Variants of State-Production Cycles and the Logic of State-Production Clusters of the Nationalized Czechoslovak Cinema (1945-1962)

Martin Mišúr

Iluminace 2018, 30(1):112-115 | DOI: 10.58193/ilu.1558  

The text presents a dissertation project that, through the application of film cycle theory and the newly introduced concept of film clusters, examines the hitherto little-explored development, transformations, and strategies for promoting the detective film genre in the environment of Czechoslovak nationalized cinematography in the years 1945–1962.

New Acquisitions of the NFA Library

Iluminace 2018, 30(1):116-124