Iluminace, 2017 (vol. 29), issue 1

Articles

"Just for a Couple of Cinemas and Very Cheap". Feature Films in the Business Plans of Prague Producers between 1911 and 1915

Michal Večeřa

Iluminace 2017, 29(1):5-27 | DOI: 10.58193/ilu.1500  

Before 1915, film production in Czech lands was in its beginnings and further development was limited by many factors - from the lack of money to problems with distribution. Contemporary entrepreneurs had to find their way to minimize the risk of financial loss - their efforts usually lead to the diversification of activities. Presented study aimes to analyze the problem on the example of the first four Czech producers - Kinofa, Illusionfilm, Lucernafilm and ASUM. Depending on applied strategies, these companies can be further divided in two groups. While ASUM tried to make multiple-reel fiction movies using the star image of Andula Sedláčková, the...

Screenwriting and The Main Administration of Press Supervision in Czechoslovakia, 1953-1962

Jan Černík

Iluminace 2017, 29(1):29-49 | DOI: 10.58193/ilu.1501  

The topic of the study is censorship in screenwriting in Czechoslovakia during 1950s. In this period production process in nationalized film industry was stabilized and The Main Administration of Press Supervision was established as the main censorship institution with tendencies to centralize censorship over mass media. In literature up to now the relation between censorship and 1950s screenwriting is mentioned as one-way administrative interventions. This approach is focused solely on the difficulties in the process of approval and cannot reveal the censorship as a system. The already complicated process of screenplay development acquired one more...

Arthouse Films Produced by the Pharmaceutical Company Sandoz

Lea Petříková

Iluminace 2017, 29(1):51-68 | DOI: 10.58193/ilu.1502  

The study maps a unique theme of film history - the corpus of arthouse films produced by the pharmaceutical company Sandoz. The Sandoz laboratories, founded in 1886, were the first to synthetize LSD and engaged in its research and production until as late as 1960s, the period during which the films under question were produced. Since the end of 1950s, the company even featured a specialized institution, Cinémathèque Sandoz, which was in charge of the production of specific artistic works with fine arts qualities. Cinémathèque Sandoz brought together a group of remarkable personalities - e.g., the man of letters and fine artist Henri Michaux,...

Edition

On One Archival Document and a Panic about the Introduction of Television in Czechoslovakia
Development and Current State of Czechoslovak Television (1951)

Martin Štoll

Iluminace 2017, 29(1):91-99 | DOI: 10.58193/ilu.1505  

The analyzed secret report from 1951 documents the politically enforced and technically unprepared introduction of television broadcasting in Czechoslovakia, which during the Cold War was primarily intended to serve as a new tool of ideological propaganda and a counterweight to Western radio.

Analysis

Rendition of The Thinking Mind in the Feature Film Debuts of Jan Němec and Drahomíra Vihanová

Briana Čechová

Iluminace 2017, 29(1):69-82 | DOI: 10.58193/ilu.1503  

Diamonds of the Night (1964) and Squandered Sunday (1969) are feature film debuts and, at the same time, prominent works of their authors, the representatives of the Czech New Wave, Jan Němec and Drahomíra Vihanová. The study focuses on one fact the two films have in common: internal contents of protagonists' memory signal larger scope and concentration of meaning than images of their present acting. A comparative analysis of the two films is inspired by the philosophy of memory of Henri Bergson and is terminologically based in the narrative analysis of Gérard Genett and Uri Margolin's concept of the "thinking mind". It aims to describe and interpret...

Interviews

Transmedia Can Be a Fantastic Social Tool. An Interview With Matthew Freeman

Šárka Gmiterková, Ondřej Pavlík

Iluminace 2017, 29(1):83-89  

Interview with Morgan Freeman

Horizon

"Golden Sixties" from the Censorship Perspective (Lukáš Skupa: Vadí - nevadí. Česká filmová cenzura v 60. letech)

Ivan Klimeš

Iluminace 2017, 29(1):107-108  

Review of a book about film censorship in Czechoslovakia in the 1960s

Dual Ivens, Dual Biography of a Filmmaker (André Stufkens, Joris Ivens. Filmař světa. Thomas Waugh, The Conscience of Cinema. The Works of Joris Ivens 1912-1989)

Lucie Česálková

Iluminace 2017, 29(1):109-115  

Book review (André Stufkens, Joris Ivens. Filmmaker of the World. Thomas Waugh, The Conscience of Film. The work of Joris Ivens 1912-1989.

Hašek's Fiction in Texts, Theater, and Film (František A. Podhajský (ed.), Fikce Jaroslava Haška)

Petr Mareš

Iluminace 2017, 29(1):116-118  

Review of František A. Podhajský (ed.), Fikce Jaroslava Hašek

A Tough Journey to the Czech National Film Museum (Exposition Na film! 2: V pohybu)

Pavlína Vogelová

Iluminace 2017, 29(1):119-121  

The text reflects the initiative of film studies students seeking to establish a National Film Museum through interactive exhibitions entitled "Na film!" ("Let's make a film!"), which effectively popularize the beginnings of cinematography in a playful way. However, according to the author, they encounter limitations in the form of a lack of original collections and the need to cooperate with professional institutions in order to function as a fully-fledged museum.

Ad Fontes

Union of Czech Film Workers (1939) 1945-1946 (1951)

Marcela Týfová

Iluminace 2017, 29(1):100-103 | DOI: 10.58193/ilu.1506  

The text describes the history and archival collection of the Union of Czech Film Workers, which in 1945–1946 sought to organize the nationalized film industry and, through a disciplinary council, dealt with cases of collaboration by well-known filmmakers before it was incorporated into the structure of the Revolutionary Trade Union Movement.

ETUDE DE TOUCHER by Václav Mergel - A Unique Acquisition of NFA Animated Film Collection

Michaela Mertová

Iluminace 2017, 29(1):104-106 | DOI: 10.58193/ilu.1507  

The text describes the fate of Václav Mergl's experimental animated film Etude du toucher from 1966, which was created outside the official state structures and, after fifty years in the author's custody, was acquired as a unique acquisition and digitized by the National Film Archive.