Iluminace, 2023 (roč. 35), číslo 3

„The Victims Were Apparently Eaten“ Reflexe japonské estetiky a společnosti 90. let v trilogii Resident Evil (1996–1999)

„The Victims Were Apparently Eaten“. Reflections of the Japanese Aesthetics and Society of the 1990s in the Resident Evil Trilogy (1996–1999)

Josef Tichý

Iluminace 2023, 35(3):5-38 | DOI: 10.58193/ilu.1770  

The Japanese video game series Resident Evil is often cited as a prime example of the mukokuseki (“without nationality”) aesthetics due to its setting in the fictional world of the United States. Thus, the principal aim of this article is to explore within the broader context of Japanese culture and society, how the above-mentioned saga reflects a whole range of elements specific to the Japanese environment and even the personal experiences of its creators. The opening quote appropriated from the introductory video sequence of the first title, speaks somewhat pathetically about victims who “were apparently eaten,” thus...

Chůze velrybou: imerzní výstavní design jako forma muzejní komunikace

Walking Through the Whale: Immersive Exhibition Design As a Form of Museum Communication

Ondřej Táborský

Iluminace 2023, 35(3):39-58 | DOI: 10.58193/ilu.1768  

In recent years, visiting certain types of museums has become much more of an experience anchored in the mediality of the space. In a situation of gradual decline of the reach of traditional audiovisual media such as television or cinema, the museum appears as another significant platform for viewership. This shift is greatly aided by the popularity of immersive exhibition tools. The transfer of communication from objects (touchable or contextual) and dioramas to immersiveness increases the importance of bodily and emotional experience but also brings great challenges for some types of cultural organizations focused on the interpretation of history....

Decentralizace v české zestátněné kinematografii 1957–1962: Projev kulturní liberalizace, nebo snaha o zefektivnění práce?

Decentralization in the Czech Nationalized Cinema 1957–1962: A Consequence of Cultural Liberalization or Effort to Work More Effectively?

Marek Danko, Petr Hasan, Lucie Hurtová

Iluminace 2023, 35(3):59-102 | DOI: 10.58193/ilu.1765  

This study deals with decentralization processes in the nationalized Czechoslovak cinematography, which took place in the second half of the 1950´s and the first half of the 1960´s. It contextualizes these organizational changes within the historical and political-cultural developments in Czechoslovakia and approaches them from two main perspectives: from the point of view of changes right in the top management of the Czechoslovak cinematography and in other organizational parts of the Czechoslovak Film and from the point of view of changes in the relationship between this film management and the superior Ministry of Education and Culture. The role...

Animovaný film a pochybnosti kozmického veku. O skepticizme vo filmoch Václava Mergla: Laokoon, Krabi a Homunkulus

Animated Film and the Doubts of the Space Age. About Scepticism in Václav Mergl’s films: Laokoon, Crabs and Homunculus

Veronika Liptáková

Iluminace 2023, 35(3):103-134 | DOI: 10.58193/ilu.1766  

This article primarily focuses on Václav Mergl's sci-fi films Laokoon, Crabs and Homunculus. With the help of theoretical frameworks of technological skepticism (or skepticism of the so-called Space Age), it interprets these movies, whereas significantly working with the considerations of Hannah Arendt, presented in her text “The Conquest of Space and the Stature of Man”. Since Václav Mergl takes his works to the level of relatively complex philosophical ideas, which he often expresses through images, this article also takes into account his independent artworks. However, it observes the artist's creative processes primarily in his films....

Nation-building Across Media. Lumière films’ intervention in the Hungarian visual sphere

Izabella Füzi

Iluminace 2023, 35(3):135-158 | DOI: 10.58193/ilu.1767  

One of the major mediatized political events in Hungary was the procession organized on 8 June, 1896 as part of the Hungarian millennial celebrations intended to express national progress, pride and unity. Captured by professional and amateur photographs, represented in drawings, paintings, a cyclorama, as well as actuality films recorded by the Lumière travelling operators, the political event of the procession reached a much larger audience than the actual public present. The article aims to show the differences between the staged event of the procession intended to bolster the image of a unified nation and its visual mediation ‒ for example...

(Více než) kompetentně o nekompetenci. Becky Bartlett, Badfilm: Incompetence, Intention and Failure (Edinburgh: Edinburgh University Press, 2021).

(More than) Competently about Incompetence. Becky Bartlett, Badfilm: Incompetence, Intention and Failure (Edinburgh: Edinburgh University Press, 2021).

Jan Bergl

Iluminace 2023, 35(3):159-164 | DOI: 10.58193/ilu.1769  

Recenze knihy Becky Bartlett o takzvaných "špatných filmech".