Iluminace, 2018 (vol. 30), issue 4

Kinematografie a "Nová Evropa". Evropský filmový průmysl pod německou okupací, 1939-1945

Pavel Skopal

Iluminace 2018, 30(4):5-7  

The editorial of this thematic issue presents a collection of studies examining the functioning of film industries in occupied Europe between 1939 and 1945. Through a comparison of the situations in the Protectorate, Hungary, and Belgium, these studies focus on institutional continuity, the transnational circulation of stars, and export strategies within the Nazi project of a "New Europe."

Tramps Wandering the "New Europe". The Reich's Film Politics and the Export Capacity of the Protectorate's Cinema

Pavel Skopal

Iluminace 2018, 30(4):9-30 | DOI: 10.58193/ilu.1587  

In the second half of the 1930th Czech film industry increased its ambitions regarding the export of Czech films. The occupation changed the form of and conditions for the export, but it did not stop completely. On the contrary, the export was developing rather extensively event though it was controlled by the Reich through the company Transit Film. This company aimed at controlling the distribution channels of films in European cinemas and implement cultural-political goals of the Reich's Ministry of Propaganda. These goals included strict regulation of import of foreign films to Germany, and as a result, only three Czech films were introduced to...

The Reich, the Europe, the Protectorate, and the Cinema. Prag-Film during Crystallization and Realization of Nazi Film Expansion

Tereza Czesany Dvořáková

Iluminace 2018, 30(4):31-49 | DOI: 10.58193/ilu.1588  

The study focuses on answering several partial research questions that contextualize the topic of the Protectorate film industry, namely the circumstances of the origin and existence of by-Nazis-created the Prag-Film company. The first part of the study introduces the Reich film concept whose aim was the general production and economic strengthening of German cinema on domestic and foreign level. From 1937 to 1942, the Nazis realized an extensive centralization and partial nationalization of film infrastructure in Germany and in some of the occupied countries including the Protectorate Bohemia and Moravia. The second part of the study analyses the...

German Film Stars as Cultural Agents in Occupied Belgium (1940-1944)

Roel Vande Winkel

Iluminace 2018, 30(4):51-60 | DOI: 10.58193/ilu.1589  

Many articles and books discuss film stars of the so-called 'Third Reich', the movies they played in and/or the ways in which such stars supported by the National-Socialist regime, by attending social events, supporting Winterhilfe or performing for German troops. This article expands that focus by looking at the ways in which German film stars were deployed to target foreign audiences. Within the context of his ongoing research on the German reorganisation of the Belgian film sector (1940-1944), the author reconstructs the visits that several famous actors or directors (Marika Rökk, Georg Jacoby, Heinz Rühmann, Hertha Feiler, Zarah Leander, Ilse Werner,...

Which Path to Christian Nationalism? Wartime Hungarian Cinema in New Order Europe

David Frey

Iluminace 2018, 30(4):61-87 | DOI: 10.58193/ilu.1590  

This article examines the transformation of the Hungarian film industry, focusing on the wartime years, when Hungary became the third most prolific feature film producer in continental Europe, when rhetoric about the nation-producing role of film and its corrolary, antisemitism, reached a crescendo across the continent. Despite what appeared to be ideal conditions for the right-wing advocates of Hungarian Christian nationalism, David Frey's article demonstrates how difficult it was for Hungary to conceive of and sustain a viable film industry meant to define the nation in the midst of war, poverty, cultural crisis, and political instability while under...

Vision of the Reich Film Industry

Pavel Skopal

Iluminace 2018, 30(4):104-120 | DOI: 10.58193/ilu.1593  

This edition of archival documents, with an introductory study by Pavel Skopal, presents internal reports from the management of the German film industry from 1942 and 1944, which, in the context of the war, address film export strategies, the significant economic contribution of the Protectorate of Bohemia and Moravia to revenues, and the ideological and pragmatic aspects of using foreign film stars.

Occupation as an European Experience. An Interview with Tatjana Tönsmeyer

Pavel Skopal

Iluminace 2018, 30(4):89-96  

An interview with historian Tatjana Tönsmeyer presents an international research project focused on a comparative study of everyday life in occupied Europe, which, through the new concept of "occupied societies" and analysis of the phenomenon of scarcity, it overcomes the traditional moral dichotomy of collaboration and resistance and examines universal strategies for survival and the transformation of public space during World War II.

The Beginning of the Film as a Challenge for Analysis (Annette Insdorf, Cinematic Overtures: How to Read Opening Scenes)

Petr Mareš

Iluminace 2018, 30(4):130-134  

Petr Mareš's review deals with Annette Insdorf's book Cinematic Overtures, which he evaluates as a theoretically unsystematic and subjective collection of reflections on the function of film openings, but which, thanks to the author's "sympathetic" approach, offers a number of valuable detailed analyses of specific films.

Theory of the Narrative Bang (David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling)

Martin Kos

Iluminace 2018, 30(4):135-139  

Martin Kos's review presents David Bordwell's monograph Reinventing Hollywood, which uses analytical and historical poetics to map in detail the narrative innovations in Hollywood production in the 1940s. While praising the complexity of the research, the author criticizes the mechanical piling up of examples and the unconvincing argumentation regarding the influence of the period under study on contemporary cinema.

Film Criticism as a Mission (Tomáš Hála (ed.), Galina Kopaněva. Spatřit a napsat. Filmové kritiky, statě a rozhovory)

Pavel Bednařík

Iluminace 2018, 30(4):140-145  

Art Save the Screen (ScreenSaverGallery: Nelidské umění)

Matěj Forejt

Iluminace 2018, 30(4):146-147  

Balance between Creative Risk, Originality and Financial Return. An Interview with Christian Routh

Eva Pjajčíková, Marek Loskot

Iluminace 2018, 30(4):97-103  

Ponrepo Viktor 1860-1926 (1931)

Luboš Marek

Iluminace 2018, 30(4):121-123 | DOI: 10.58193/ilu.1594  

Compilation War Documentary Neznámý vojín mluví (1934)

Alena Šlingerová

Iluminace 2018, 30(4):124-129 | DOI: 10.58193/ilu.1595  

New Acquisitions of the NFA Library

Iluminace 2018, 30(4):148-152