Iluminace, 2000 (vol. 12), issue 1
Articles
The Mechanics of Memory in the Film Medium (and memory in Film)
Petr Marek
Iluminace 2000, 12(1):5-27 
Memory as a phenomenon most characteristic of film. Capturing reality and the moment. Truth in film. The perception of captured reality. Film as a mirror. Film documentary. Cinema - truth. Film as witness. Documentary in fiction film. Capturing the depicted reality - memory of place, memory of objects
Divine Opposition (Notes to an Essay)
Milan D. Klepikov
Iluminace 2000, 12(1):29-43
An analysis of Luis Buñuel's work, the characteristics of his individual films and creative periods, and a comparison of his early works with his later films.
Reality Without Possibilities. Luis Buñuel as a Documentarist of the World
Karel Thein
Iluminace 2000, 12(1):45-55
Analysis of Luis Buñuel's work and the importance of documentary elements in different creative periods.
Ambience in Grey: Vampyr
Jiří Cieslar
Iluminace 2000, 12(1):57-70
An analysis of Carl Theodor Dreyer's film The Vampire or The Strange Adventures of David Gray. Visual and expressive aspects of the film.
Eternal Odysseus at the Threshold of Third Millenium
Peter Michalovič, Vlastimil Zuska
Iluminace 2000, 12(1):71-80
Using Stanley Kubrick's 2001: A Space Odyssey as an example, the authors characterize the specificity of the genre of science fiction films, especially the subgenres of so-called explanatory science fiction, extrapolative science fiction and speculative science fiction. Definitions of terms and examples of films in these subgenres. Depiction of the future in film. Analysis of the film 2001: A Space Odyssey.
A Note on Bresson
Steven Shaviro
Iluminace 2000, 12(1):81-88
Aesthetics in the films of French director Robert Bresson. Comparison with Andy Warhol's work - points of contact and differences. The preference for action, movement and bodily reaction over physicality and sensuality in Bresson's work. Focus on the body, realistic perception and literal images.
Editions and Materials
Towards the Letters of Alexander Hammid
Michal Bregant
Iluminace 2000, 12(1):103-106
The introduction to Alexander Hammid's letters that follow introduces the filmmaker and his work.
Letters from the Journeys
Alexander Hackenschmied
Iluminace 2000, 12(1):107-131
The letters of the Czech-American filmmaker Alexander Hammid (Hackenschmied) to his mother date from 1932-1941 and are accompanied by his own photographs from the USA and India.
Interviews
About R. Bresson. Interview with François Truffaut
Mireille Latil-Le Dantec
Iluminace 2000, 12(1):89-102
Director François Truffaut talks about the work of Robert Bresson and discusses his way of working with concrete examples.
Horizon
The Apparition of Photograph
Josef Moucha
Iluminace 2000, 12(1):141-143
In his philosophical reflection on the theoretical reflection of photography and film and the confrontation of the expression of photography, film or other art, the author polemics with P. Michalovič's essay Písmo, ktoré pisše obrazy.
An Actor and Power (Report of the Conference and Film Retrospective)
Tomáš Glanc
Iluminace 2000, 12(1):144-145
Report on the conference Schauspieler und Macht (Actor and Power), held in Munich from 6 to 10 January 2000, which focused on the impact of totalitarian political systems on culture. The conference included a retrospective of the Soviet actor Nikolai Cherkasov, whose biography and filmography are presented by the author.
Director of Photography: Sven Nykvist
Stanislava Přádná
Iluminace 2000, 12(1):149-154
A review of Swedish cinematographer Sven Nykvist's memoir Respect for Light and a characterization and analysis of his work.
Double-view
The Joyful Apocalypse
Miroslav Marcelli
Iluminace 2000, 12(1):133-136
A review of the 1968 Yugoslavian film Soon the World Will End.
Murder Ballad or Auratic Consciousness of the Life without Self-confidence
Miroslav Petříček
Iluminace 2000, 12(1):137-139
A review of the 1968 Yugoslavian-French film Soon the World Will End.