Iluminace, 2020 (roč. 32), číslo 4
Animace na hranicích žánrů i médií

Animace na hranicích žánrů i médií

Matěj Forejt

Iluminace 2020, 32(4):5-7  

Která bude ta pravá? Počátky žánru pohádky v českém animovaném filmu po roce 1948

Which Will Be the Right One? The Beginnings of Fairytale Genre in Czech Animated Film after 1948

Lukáš Skupa

Iluminace 2020, 32(4):9-27 | DOI: 10.58193/ilu.1682  

The brief period from 1948 to 1953 can be considered as the formative years of fairytale genre in Czech animated film. This study focuses on the dramaturgy of animated film studios, which were obliged to reorient their production almost exclusively to children's audience. For this purpose the conncetions between children's films and children's literature were developing after 1948. Scriptwriters as well as artists were recruited from the literary area and some of literary fairy tales were adapted as animated films. Especially the type of so called modern fairy tale was determined as the best option for film adaptation with regard to the goals of education...

Zboží především. Československá animace a reklama na počátku 60. let 20. století

Goods Above All. Czechoslovak Animation and Advertising in the Early 1960s

Lucie Česálková

Iluminace 2020, 32(4):29-46 | DOI: 10.58193/ilu.1683  

This study explains the popularity of animated advertising film in socialist Czechoslovakia in the early 1960s. It argues that animated advertising prevailed in the Czechoslovak socialist consumer and material culture of the early 1960s because it allowed to communicate a specific concept of goods and commodity fetishism within it, allowed to continue the cultural tradition of animated film in Czechoslovakia and benefit from its prestige both abroad, as well as in the internal domestic competition between the subjects of the advertising industry. At the same time, animation met the requirements of audiovisual advertising for changes in the way media...

Vukotić a ti druzí. Jugoslávská animace v československé kinodistribuci v souvislostech bilaterálních vztahů

Vukotić and the Others. Yugoslav Animation in Czechoslovak Cinema Distribution in the Circumstances of Bilateral Relations

Marie Barešová

Iluminace 2020, 32(4):47-60 | DOI: 10.58193/ilu.1684  

This study deals with the history of distribution of short Yugoslav animated films in Czechoslovak cinemas in the period 1945-1991. Prevailing quantitative data are interpreted especially in relation to foreign policy situation in Eastern bloc, specifically according to the development of international affairs between Moscow, Belgrade and Prague. Film distribution is thus interpreted as a manifestation of Cold War cultural diplomacy. The text also briefly reconstructs institutional background of Yugoslav cinema, especially of film animation and informs about cooperation between Czechoslovakia and Yugoslavia in the domain of film animation and special...

Plasmaticita digitálního povrchu. CGI (sur)realismus ve snovém deníku Jona Rafmana

The Plasmaticity of Digital Surface. CGI (Sur)Realism in Jon Rafman's Dream Journal

Veronika Hanáková

Iluminace 2020, 32(4):61-73 | DOI: 10.58193/ilu.1685  

The theoretical perspective on CGI animation has been closely linked to the advancement of technology that brings the possibility of creating entirely new realities. Synthetic realism or hyperrealism and other terms usually lead to the mimetic abilities of computer-generated images. The mimetic abilities of computer-generated images can be regarded as the prevailing artistic instinct, according to the myth of complete animation. If the current technical possibilities fulfill the promise of a perfect mimesis of a computer-generated image, does it mean a need to rearticulate the question to consider from an unseen perspective the esthetic quality (and...

Andrey Khrzhanovsky's A Cat and a Half (2002) as a Palimpsest Beyond Conventions

Maria Panova

Iluminace 2020, 32(4):75-93 | DOI: 10.58193/ilu.1686  

This text examines Andrey Khrzhanovsky's 2002 film A Cat and a Half, dedicated to the renowned Nobel laureate Joseph Brodsky, through the lens of a working metaphor of a palimpsest beyond conventions, which may be shifted both to the formal as well as the content-focused facet of the cinematic piece. Based on critical reception of Khrzhanovsky's filmography, the analysis puts forth the concept of the complex interplay of types and genres that makes up the film, of its specific structure; it reinforces the notion that combining the different techniques and strategies of representation applied in animation, documentaries, and traditional live-action...

Animovaný dokument je stále záležitostí pro úzkou skupinu diváků. Rozhovor s Annabelle Honess Roe

The Animated Documentary is Still for a Small Group of Viewers. An Interview with Annabelle Honess Roe

Kamila Boháčková, Michaela Režová

Iluminace 2020, 32(4):95-106  

Malovaná animace mezi autorskou tvorbou a filmovým průmyslem. Rozhovor s Lucií Sunkovou

Painted Animation between the Author's Work and the Film Industry. An Interview with Lucie Sunková

Matěj Forejt

Iluminace 2020, 32(4):107-113  

S každým filmem se přišlo na něco nového. Dějiny českého animovaného filmu ve Sbírce zvukových záznamů Národního filmového archivu

Something New Came up with Each Film. History of Czech Animated Film in the Collection of Sound Recordings of the National Film Archive

Marie Barešová, Eva Strusková

Iluminace 2020, 32(4):114-123 | DOI: 10.58193/ilu.1689  

"Not Corrected or Otherwise Manipulated": Digitizing the Films of Jan Kříženecký (Jiří Anger (ed.), Filmy Jana Kříženeckého / The Films of Jan Kříženecký)

Benoît Turquety

Iluminace 2020, 32(4):124-130 | DOI: 10.58193/ilu.1690  

Fakta z ocelové skříně. Dějiny rakouských biografů v době německé okupace (Klaus Christian Vögl, Angeschlossen und gleichgeschaltet. Kino in Österreich 1938-1945)

Facts from a Steel Cabinet. History of Austrian Cinemas during the German Occupation (Klaus Christian Vögl, Angeschlossen und gleichgeschaltet. Kino in Österreich 1938-1945)

Tereza Czesany Dvořáková

Iluminace 2020, 32(4):131-134 | DOI: 10.58193/ilu.1691  

Z rodinné kroniky zakázkového filmaře (Herma Kennel, Als die Comics laufen lernten - Der Trickfilmpionier Wolfgang Kaskeline zwischen Werbekunst und Propaganda)

From the Family Chronicle of a Custom Filmmaker (Herma Kennel, Als die Comics laufen lernten - Der Trickfilmpionier Wolfgang Kaskeline zwischen Werbekunst und Propaganda).

Matěj Forejt

Iluminace 2020, 32(4):135-139 | DOI: 10.58193/ilu.1692