Iluminace, 2022 (vol. 34), issue 2

Digital Tools in Local Cinema History

Terézia Porubčanská

Iluminace 2022, 34(2):5-7  

Using Digital Tools to Locate Living and Working Areas of Domestic Producers and Circulation of their Films in 1910s Warsaw

Karina Pryt

Iluminace 2022, 34(2):9-28 | DOI: 10.58193/ilu.1730  

The digital turn has opened up new research opportunities for cinema historians on the three levels of data search, processing, and interpretation. Inspired by the New Cinema History (NCH), this article shows how online libraries and computer software (Excel, Citavi, QGIS) can be used for innovative interdisciplinary studies of cinema in early 1910s Warsaw. Drawing on a wide range of sources, including statistical data and daily newspapers in Russian, Polish, and Yiddish, this article discusses cinema topography and sheds new light on the biographies and business activities of two local film producers. It then traces the paths of their films,...

Ordinary People, Ordinary Lives. The Prospects of New Cinema History

Agata Frymus

Iluminace 2022, 34(2):29-43 | DOI: 10.58193/ilu.1731  

This article outlines the most recent methodological developments in new cinema history and relates them to existing scholarship on girlhood and feminist history. In charting my personal relationship with the field and my specific subjects, it gestures towards broader applications of "critical confabulation,"; the term coined by Saidyia Hartman in relation to the history of Black slavery. In doing so, it articulates some of the opportunities and limitations of re-centring historiographies of moviegoers towards groups that have been marginalised because of the overlapping factors of class, race and gender.

Anna Hofman-Uddgren, Pioneer of Stockholm Cinema Culture. Digitized Tools and Resources for Research on Early Cinema History and Film Reception in Sweden

Ingrid Stigsdotter

Iluminace 2022, 34(2):45-71 | DOI: 10.58193/ilu.1732  

An early historian of Swedish cinema described the theatre director and performer Anna Hofman-Uddgren as embodying "an entire epoque in Swedish entertainment life and Stockholm film" (Idestam-Almquist 1959). However, although Hofman-Uddgren included moving images in her variety shows in Stockholm from 1898, and became a pioneer filmmaker, directing six films in 1911, research on Hofman-Uddgren's contribution to Stockholm's cinema culture remains scant. This study, inspired by feminist historiographical perspectives on silent cinema (Bruno 1993; Gaines & Vatsal 2011; Stamp 2015; Gaines 2018) and by work on historical film reception (Staiger 1992;...

Local Cinema History at Scale. Data and Methods for Comparative Exhibition Studies

Michael Aronson, Gabriele Hayden, Elizabeth Peterson

Iluminace 2022, 34(2):73-100 | DOI: 10.58193/ilu.1733  

Digital tools and digitized sources have expanded our ability to research and present regional film histories, along with the hope of conducting comparative work across both place and time. Alongside these projects are increasing calls for more deliberate coordination of tools, methods, and sources to create more meaningful comparisons. However, it remains difficult for researchers to know what digital projects exist for comparative work, and the methods, points of comparison, data structure, and sources used all considerably vary. Utilizing research data management principles, we conducted an exploratory survey of local film exhibition digital projects...

Building a Digital Archive for Cross-national Historical Research. An Interview with Daniela Treveri Gennari, Lies Van de Vijver and Pierluigi Ercole

Terézia Porubčanská

Iluminace 2022, 34(2):101-112  

Limity, lesk i rétorika filmových profesionálů. Filmové průmysly nacisty okupovaných zemí (Pavel Skopal - Roel Vande Winkel, eds., Film Professionals in Nazi-Occupied Europe)

Martin Mišúr

Iluminace 2022, 34(2):113-120 | DOI: 10.58193/ilu.1735  

Kdo vlastní obrazy (Sylvie Lindeperg - Ania Szczepanska, Who Owns the Images?)

Ivan David

Iluminace 2022, 34(2):121-125 | DOI: 10.58193/ilu.1736