Iluminace, 2017 (vol. 29), issue 4

Magical Films for People. On the Czechoslovak Film Underground of the 1980s

Martin Blažíček

Iluminace 2017, 29(4):5-29 | DOI: 10.58193/ilu.1538  

The study focuses on the cultural circle of the Czechoslovak underground through a specific case study of a group of filmmakers around an author working under the name Čaroděj OZ. The first part explores the wider context of the underground environment in an attempt to clarify and define the background of the generation that worked during the era of so-called normalization at the turn of the 1980s. It also defines the position of underground films in relation to amateur films and describes the specific artistic motivations of the group. Taking individual films as examples, the study comments on the selected period of film production, describing its...

Vítězslav Nezval, the Role of Photogénie and a Turn of Thought

Radomír D. Kokeš

Iluminace 2017, 29(4):31-46 | DOI: 10.58193/ilu.1539  

The article looks at a number of significant features of the film theory and criticism of the poet and representative of Czech interwar avant-garde Vítězslav Nezval. Nezval tends to be somewhat marginalized as an author of texts on cinema in comparison with Karel Teige but, considering these features and frameworks, he represents a quite unique, albeit somewhat elusive, phenomenon in the history of Czech film theory. First of all, an unexpected and significant turn of thought in his interpretation of the phenomenon of cinema occurred within just one year. The turn was (a) rhetorical. In contrast to his earlier abstracting and theorizing approach, he...

The Films of Angela Schanelec: Between Boredom and Excited Anticipation. Minimalistic Motion in Slow Cinema

Ondřej Pavlík

Iluminace 2017, 29(4):47-68 | DOI: 10.58193/ilu.1540  

The analytical study analyses the films of the German director Angela Schanelec in the context of slow cinema. While existing scholarship on slow cinema emphasizes its oppositional relationship to rapidly accelerating contemporary Hollywood cinema and neoliberal capitalism, here the focus is on contradictions within slow films themselves. Drawing upon David Bordwell's analytical poetics of cinema and Bordwell's and Kristin Thompson's neoformalist approach, this study proposes that Schanelec's films are driven by mutually opposed, systematically developed types of motion that appear on the level of form and style. More specifically, slow or decelerated...

Stories Within History (Marie Barešová - Tereza Czesany Dvořáková, Generace normalizace. Ztracená naděje českého filmu? Praha: NFA 2017)

Zuzana Černá

Iluminace 2017, 29(4):93-95  

Amateur Cinema as Cultural Heritage (Siegfried Mattl - Carina Lesky - Vrääth Őhner - Ingo Zechner /eds./, Abenteuer Alltag. Zur Archäologie des Amateurfilms. Wien: Österreichisches Filmmuseum - SYNEMA - Gesellschaft für Film und Medien 2015)

Tereza Cz Dvořáková

Iluminace 2017, 29(4):96-99  

Media of Time, History, Present, Future (Tomáš Dvořák a kol., Temporalita /nových/ médií. Praha: NAMU 2016)

Kateřina Krtilová

Iluminace 2017, 29(4):100-103  

This Is Not an Exhibition. It Is More than That. (Ester Krumbachová: Sněžný muž - Nosit amulet - Zamotávat archiv. Tranzitdisplay, Praha, 14. 12. 2017 - 21. 2. 2018, autorky Zuzana Blochová a Edith Jeřábková)

Matěj Forejt

Iluminace 2017, 29(4):104-106  

Film Production is Entirely Non-Standard. An Interview with Jaromír Kallista

Petr Bilík

Iluminace 2017, 29(4):69-78 | DOI: 10.58193/ilu.1541  

Film Labs Should Be Communities. An Interview with Matthieu Darras, Artistic Director of TorinoFilmLab

Radim Procházka

Iluminace 2017, 29(4):79-89  

Czech Administration of the Company Deutsche Filmvertriebgesellschaft m. b. H. (1945-1947)

Luboš Marek

Iluminace 2017, 29(4):90-92 | DOI: 10.58193/ilu.1543