Iluminace, 2018 (vol. 30), issue 3

Useful Genre of Detective Films. How Changes of Cultural Values Influenced the Reception of Detective Films in the Era of the Protectorate of Bohemia and Moravia

Pavel Skopal

Iluminace 2018, 30(3):5-22 | DOI: 10.58193/ilu.1574  

During the era of the Protectorate of Bohemia and Moravia, four films that were perceived by film critics and various dramaturgy departments were made - Pelikán má alibi (Pelikán Has an Alibi), Těžký život dobrodruha (The Hard Life of an Adventurer), Čtrnáctý u stolu (The Fourteenth at the Table), and Paklíč (Skeleton Key). A detailed look at these films as fragments of contemporary cultural life and politics allowed us to distinguish changes in the value orientations of culture functionaries, film producers, dramaturgists, or film journalists. Nevertheless, it was also necessary to take into account the rapid changes that occupation brought about...

The Digital Single Market Strategy as a Threat or an Opportunity? A Reconstruction of the Czech Distributors' Attitudes toward the DSM Strategy

Pavel Zahrádka, Petr Szczepanik

Iluminace 2018, 30(3):23-48 | DOI: 10.58193/ilu.1575  

In the present study, we focus on local distributors operating on the small national market, whose voices were rather missing in the pan-EU debates or under-represented in the policies of international interest groups (i.e. professional associations) and national political positions. The aim of the study is to reconstruct and compare Czech distributors' attitudes toward the Digital Single Market strategy (DSM) and its individual regulatory initiatives, starting from May 2015. First, we situate the DSM into the wider cultural-political context, marked by tensions between basic principles of free market in the EU and the territoriality of copyright,...

Filmmakers Versus Slovak Film Fund. Study of an Institution from the Economic Perspective and from the Perspective of Public Discourse

Miroslav Vlček

Iluminace 2018, 30(3):49-76 | DOI: 10.58193/ilu.1576  

This study focuses on the Slovak Film Fund as a main funding option for Slovak film professionals. The film fund was created in 2009 and since then it has supported hundreds of projects: fiction movies, documentaries, animations but also reconstructions of cinemas, research project, etc. Since the beginning of the fund examples showing asymmetry in relations between filmmakers and the institution has come up and they can be traced in public discourse. This study provides deeper insight into how this discourse of asymmetry is created and how it reflects upon relations between filmmakers and the public institution of Slovak Film Fund. This discourse...

A High Contrast Portrait. Representations of the Czech-German Borderland in Recent Czech Film and TV Productions

Ludmiła Władyniak

Iluminace 2018, 30(3):77-92 | DOI: 10.58193/ilu.1577  

Using visual social semiotics tools, the paper studies representations of the Czech-German borderland in the film Schmitke (2014) and two television series Pustina (2016) and Rapl (2016). In recent years, Czech cinema has followed the path of world cinema in producing films and television series that could be classified as (Nordic) noir. Since 2015, a handful of productions following this globally recognized genre have been made. The northwestern borderland of the Czech Republic, also known as the Sudetes, has become the setting for these productions. The high contrast postindustrial landscape, abandoned places, and wild mountains seem to catch the...

An Independent Environment Supports Innovation. An Interview with Aymar Jean Christian

Dorota Vašíčková

Iluminace 2018, 30(3):93-97  

An interview with media theorist and producer Aymar Jean Christian focuses on the phenomenon of independent web television and the OTV platform, addressing the connection between academic research and creative practice, the concept of sincerity in the representation of subcultures, and the complicated relationship between the innovative independent sector and dominant media corporations.

Patchwork (Martin Palúch, Cenzúra a dokumentárny film po roku 1989)

Václav Macek

Iluminace 2018, 30(3):118-126  

Václav Macko's review sharply criticizes Martin Palúch's book, faulting it for methodological ambiguity, reliance on sources such as Wikipedia, and, above all, the inappropriate application of the concept of censorship to phenomena that, in a liberal democracy, are more likely to be manifestations of production decisions, ethical disputes, or compliance with contracts.

On Affect and Melodrama (Jiří Anger, Afekt, výraz, performance: Proměny melodramatického excesu v kinematografii těla)

Martin Charvát

Iluminace 2018, 30(3):127-129  

Martin Charvát's text reviews Jiří Anger's monograph, which uses positive ontology of affect and Gilles Deleuze's philosophical concepts to examine the transformations of melodramatic excess in the cinema of the body, applying its theoretical foundations primarily to the analysis of Werner Schroeter's experimental works.

On Cinema after Cinema (Lars Henrik Gass, Film und Kunst nach dem Kino)

Matěj Forejt

Iluminace 2018, 30(3):130-135  

Review of Lars Henrik Gasse's book Film und Kunst nach dem Kino presents the author's critical analysis of the migration of film media from cinemas to galleries and the internet, focusing primarily on the loss of a specific "threshold experience" for viewers and the transformation of economic models, while reviewer Matěj Forejt confronts the author's radical thesis about the incompatibility of cinema and museums with examples of functional curatorial solutions.

To Breath into Images. An Interview with Gustav Deutsch

Tereza Hadravová

Iluminace 2018, 30(3):99-103  

An interview with Austrian filmmaker Gustav Deutsch explores his creative processes when working with found footage and archival materials, focusing in detail on the making of the film Tak žijeme — poselství rodiny (This Is How We Live — A Family Message), the Reset the Apparatus! project, and a critical reflection on the transformation of visual recording in the era of digital technology and social media.

Brichta Jindřich (1897-1957)

Jiří Kutil

Iluminace 2018, 30(3):104-108 | DOI: 10.58193/ilu.1580  

Jiří Kutila's text, based on a description of personal collections stored in the National Film Archive and the National Technical Museum, maps the life and legacy of Jindřich Brichta, who rose from the profession of cinematographer and technical director to become a key figure in Czechoslovak film archiving, museum work, and education.

Film Zlín. A Set of Oral-Historical Interviews in the NFA's Audio Record Collection

Kateřina Chromková, Marie Barešová

Iluminace 2018, 30(3):109-117 | DOI: 10.58193/ilu.1581  

The text by authors Kateřina Chromková and Marie Barešová presents a research project by the National Film Archive, which uses oral history methods to systematically map previously overlooked aspects of Zlín's film culture, focusing specifically on collecting the memories of witnesses associated with the operation of the Kudlov studios, film laboratories, and local cinemas.

New Acquisitions of the NFA Library

Iluminace 2018, 30(3):136-141