PT Journal
AU Frodlova, T
   Egermajer, J
TI Stredoveky partyzan v barve. Restaurovani filmu Jan Rohac z Dube jako pramen kulturni historie
SO Iluminace
PY 2026
BP 199
EP 232
VL 37
IS 3
DI 10.58193/ilu.1828
WP https://iluminace.cz/artkey/ilu-202503-0010.php
DE Jan Rohac z Dube; restaurovani; archivni vyzkum; produkcni historie; kulturni historie
SN 0862397X
AB Predkladana studie vychazi z vyzkumu realizovaneho u prilezitosti digitalniho restaurovani snimku Jan Rohac z Dube (Vladimir Borsky, 1947), na kterem se Narodni filmovy archiv podilel v letech 2022-2024. Studie rekonstruuje okolnosti vzniku filmu, jeho spletitou distribucni historii a jeho misto ve spolecenskem a kulturne-politickem kontextu povalecneho Ceskoslovenska. Soucasne se venuje otazce ideologickeho rozmeru subzanru historicistne pojateho historickeho filmu a produkcni a distribucni praxi zestatnene ceskoslovenske kinematografie v jejich formativnich letech, tedy v obdobi tzv. treti republiky. V casti venovane restaurovani sleduje postupy a pristupy zvolene s ohledem na moznosti a limity dochovanych filmovych materialu a miru soucasneho poznani o filmu. Pro zachyceni komplexni povahy dila vychazi vyzkum z hierarchickeho modelu pouzivaneho pro popis kulturnich a informacnich objektu, ktery rozlisuje mezi dilem, jeho variantou, manifestaci a fyzickym nosicem. Tento pristup je relevantni nejen v kontextu archivace a restaurovani, ale umoznuje chapat filmovy material jako vyznamny historicky pramen, ktery muze v ramci filmove historiografie otevirat nova temata a perspektivy. The presented study is based on research carried out on the occasion of the digital restoration of the film The Warriors of Faith (Jan Rohac z Dube; Vladimir Borsky, 1947) undertaken between 2022 and 2024 with the participation of Narodni filmovy archiv, Prague. The study reconstructs the circumstances of the film's creation, its complex distribution history and its place in the social and cultural-political context of post-war Czechoslovakia. At the same time, it addresses the issue of the ideological dimension of the subgenre of historicist historical film and the production and distribution practices of nationalized Czechoslovak cinematography in its formative years, i.e. during the so-called Third Republic (1945-1948). In the part dedicated to restoration, it traces the procedures and approaches chosen with regard to the possibilities and limitations of preserved film materials and the level of current knowledge about film. To capture the complex nature of the work, the research is based on a hierarchical model used to describe cultural and information objects, which distinguishes between the work, its variant, manifestation and physical item. This approach is relevant not only in the context of archival practice and restoration, but also makes it possible to understand film stock as an important historical source that can open up new topics and perspectives within cinema historiography.
ER