{"title":"Decentralization in the Czech Nationalized Cinema 1957-1962: A Consequence of Cultural Liberalization or Effort to Work More Effectively?","authors":"Marek Danko - Petr Hasan - Lucie Hurtová","doi":"10.58193/ilu.1765","DOIUrl":"https://doi.org/10.58193/ilu.1765","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139618618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Animated Film and the Doubts of the Space Age. About Scepticism in Václav Mergl's films: Laokoon, Crabs and Homunculus","authors":"Veronika Liptáková","doi":"10.58193/ilu.1766","DOIUrl":"https://doi.org/10.58193/ilu.1766","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139528672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"The Victims Were Apparently Eaten\". Reflections of the Japanese Aesthetics and Society of the 1990s in the Resident Evil Trilogy (1996-1999)","authors":"Josef Tichý","doi":"10.58193/ilu.1770","DOIUrl":"https://doi.org/10.58193/ilu.1770","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139619205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Walking Through the Whale: Immersive Exhibition Design As a Form of Museum Communication","authors":"Ondřej Táborský","doi":"10.58193/ilu.1768","DOIUrl":"https://doi.org/10.58193/ilu.1768","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139528241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nation-building Across Media. Lumière films' intervention in the Hungarian visual sphere","authors":"Izabella Füzi","doi":"10.58193/ilu.1767","DOIUrl":"https://doi.org/10.58193/ilu.1767","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139620070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The so-called “Sea of Plastic” in Almeria (southern Spain) is the largest concentration of plastic greenhouses in the world. Because of its monumentalism and “accidental aesthetics” (Davis, 2015), this geographic region has been extensively depicted from above by aircrafts, satellites, and drones from the 1950s to the present. The purpose of this paper is threefold: first, it offers a historical account of these images from above (from the ones obtained during the Francoist period for geopolitical purposes to those taken by local farmers today) in order to understand its colonial condition and legacy; second, it explores the significance of these images in the process of institutionalization of the landscape and its use in the ideological battle that takes place in the core of the agribusiness regarding its human and environmental externalities; and finally, it analyzes the tension between the artistic and the political condition of these images. We understand these productions as a visual testimony of the Anthropocene, since they allow us to document the “slow violence” (Nixon, 2011) that has taken place in this space over decades. At the same time, we argue that the aesthetic condition of most of the SoP’s images only portrays the visible part of the bigger “hyperobject” (Morton, 2013) that plastic is, creating a distance that ultimately fails to document the consequences of agro-industrial activity in the long term: desertification, aquifers’ overexploitation, and long-life plastic waste. Thus, these images allow us to think about the trauma inflicted on ecosystems and the representational challenges involved in representing traumatic landscapes.
{"title":"Traumatic Landscapes from Above: Images of Colonization and Violence in the Sea of Plastic","authors":"Miguel Fernández Labayen - Loreto García Saiz","doi":"10.58193/ilu.1755","DOIUrl":"https://doi.org/10.58193/ilu.1755","url":null,"abstract":"The so-called “Sea of Plastic” in Almeria (southern Spain) is the largest concentration of plastic greenhouses in the world. Because of its monumentalism and “accidental aesthetics” (Davis, 2015), this geographic region has been extensively depicted from above by aircrafts, satellites, and drones from the 1950s to the present. The purpose of this paper is threefold: first, it offers a historical account of these images from above (from the ones obtained during the Francoist period for geopolitical purposes to those taken by local farmers today) in order to understand its colonial condition and legacy; second, it explores the significance of these images in the process of institutionalization of the landscape and its use in the ideological battle that takes place in the core of the agribusiness regarding its human and environmental externalities; and finally, it analyzes the tension between the artistic and the political condition of these images. We understand these productions as a visual testimony of the Anthropocene, since they allow us to document the “slow violence” (Nixon, 2011) that has taken place in this space over decades. At the same time, we argue that the aesthetic condition of most of the SoP’s images only portrays the visible part of the bigger “hyperobject” (Morton, 2013) that plastic is, creating a distance that ultimately fails to document the consequences of agro-industrial activity in the long term: desertification, aquifers’ overexploitation, and long-life plastic waste. Thus, these images allow us to think about the trauma inflicted on ecosystems and the representational challenges involved in representing traumatic landscapes.","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Oldřich Nový Never Actually Left","authors":"Valerie Coufalová","doi":"10.58193/ilu.1763","DOIUrl":"https://doi.org/10.58193/ilu.1763","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay explores the eco-developing project Metarretratos by Mexican filmmaker Azucena Losana, addressing it in the context of a set of cinematic gestures concerned with the environmental impact of film. Focusing particularly on the film Ceibo/Erythrina crista-galli, the article argues that the series contributes to the three main axes that characterize academic debates about film and environmental concerns: a) with regard to cinematographic modes of production, b) concerning the thematization of the more-than-human and its relationships with humans and the environment, and c) with reference to the understanding of images as matter and imagination as action in the world. As part of a broader movement searching for less environmentally harmful film-developing solutions, the Metarretratos series has the particularity of experimenting with the chemical and curative properties of native plants from South America. Additionally, it depicts the plants/trees used in the developing recipe, foregrounding vegetal worlds as protagonists. Specifically, this paper discusses how Ceibo/Erythrina crista-galli engages with the healing properties of plants, drawing from indigenous knowledge systems and the philosophy of vegetal life. It explores the botanical significance of the Ceibo tree depicted in the film, as it exists in a particular soil and geography, the Plaza de Mayo in Buenos Aires, while simultaneously communicating with the spatialities and temporalities that exceed it. I suggest that what the eco-developing project reveals — reveal being the Spanish word for develop — is the very agency of both cinematic and vegetal matter in the creation of forms, images, and the world itself, exposing the inseparability of nature and technology. The cinematic dispositif that Metarretratos involves, we may speculate, is affected by the curative properties of the plants used; it seems to accommodate, translate, and transpose these qualities beyond itself, functioning as part of a curative mechanism of eco-traumatic aspects of landscapes.
{"title":"The Rhythms of the More-than-human Matter in Azucena Losana's Eco-developed Film Series Metarretratos","authors":"Salomé Lopes Coelho","doi":"10.58193/ilu.1758","DOIUrl":"https://doi.org/10.58193/ilu.1758","url":null,"abstract":"This essay explores the eco-developing project Metarretratos by Mexican filmmaker Azucena Losana, addressing it in the context of a set of cinematic gestures concerned with the environmental impact of film. Focusing particularly on the film Ceibo/Erythrina crista-galli, the article argues that the series contributes to the three main axes that characterize academic debates about film and environmental concerns: a) with regard to cinematographic modes of production, b) concerning the thematization of the more-than-human and its relationships with humans and the environment, and c) with reference to the understanding of images as matter and imagination as action in the world. As part of a broader movement searching for less environmentally harmful film-developing solutions, the Metarretratos series has the particularity of experimenting with the chemical and curative properties of native plants from South America. Additionally, it depicts the plants/trees used in the developing recipe, foregrounding vegetal worlds as protagonists. Specifically, this paper discusses how Ceibo/Erythrina crista-galli engages with the healing properties of plants, drawing from indigenous knowledge systems and the philosophy of vegetal life. It explores the botanical significance of the Ceibo tree depicted in the film, as it exists in a particular soil and geography, the Plaza de Mayo in Buenos Aires, while simultaneously communicating with the spatialities and temporalities that exceed it. I suggest that what the eco-developing project reveals — reveal being the Spanish word for develop — is the very agency of both cinematic and vegetal matter in the creation of forms, images, and the world itself, exposing the inseparability of nature and technology. The cinematic dispositif that Metarretratos involves, we may speculate, is affected by the curative properties of the plants used; it seems to accommodate, translate, and transpose these qualities beyond itself, functioning as part of a curative mechanism of eco-traumatic aspects of landscapes.","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nuclear trauma has always resisted verbal and visual portrayal, calling for various alternative, form-breaking methods. This article discusses three artistic works which I consider “experimental documents” because of their various photographic and filmic practices of intimately approaching the radioactive contamination still present in the Chernobyl Exclusion Zone. The site-related projects of Alice Miceli (Chernobyl Project, 2006–2010), Lina Selander (Lenin’s Lamp Glows in the Peasant’s Hut, 2011), and Daniel McIntyre (Lion series, 2011–2014) go beyond the journalistic representations of the area and directly engage with the material traces, embodiment and objectification of immaterial radioactivity, devoting key role to the artist’s bodily and sensorial presence in the traumatic landscape. I examine these works of art in a conceptual context that assumes a structural similarity between radioactive radiation and trauma due to their uncontrollable and retrospective nature, their specific aspects of embodiment, and their manifestation through various emotional and physical symptoms. According to my observation, although the artists initially aim to investigate and document the immateriality of toxic radiation through the mediums of photography and film, they not only reveal the original, hyperobjective nature of nuclear trauma, but also touch on its affective qualities. I will argue that these three works, despite their differences, are based on “traumatomic encounters” with the radiation-contaminated sites and have in common the perception of Chernobyl as a “traumascape” (Tumarkin), which is saturated with an invisible, radioactive, and at the same time affective “atmosphere” (BĂśhme).
{"title":"'Traumatomic' Encounters. Trauma through Radioactivity in Photofilmic 'Experimental Documents' of Chernobyl","authors":"Beja Margitházi","doi":"10.58193/ilu.1760","DOIUrl":"https://doi.org/10.58193/ilu.1760","url":null,"abstract":"Nuclear trauma has always resisted verbal and visual portrayal, calling for various alternative, form-breaking methods. This article discusses three artistic works which I consider “experimental documents” because of their various photographic and filmic practices of intimately approaching the radioactive contamination still present in the Chernobyl Exclusion Zone. The site-related projects of Alice Miceli (Chernobyl Project, 2006–2010), Lina Selander (Lenin’s Lamp Glows in the Peasant’s Hut, 2011), and Daniel McIntyre (Lion series, 2011–2014) go beyond the journalistic representations of the area and directly engage with the material traces, embodiment and objectification of immaterial radioactivity, devoting key role to the artist’s bodily and sensorial presence in the traumatic landscape. I examine these works of art in a conceptual context that assumes a structural similarity between radioactive radiation and trauma due to their uncontrollable and retrospective nature, their specific aspects of embodiment, and their manifestation through various emotional and physical symptoms. According to my observation, although the artists initially aim to investigate and document the immateriality of toxic radiation through the mediums of photography and film, they not only reveal the original, hyperobjective nature of nuclear trauma, but also touch on its affective qualities. I will argue that these three works, despite their differences, are based on “traumatomic encounters” with the radiation-contaminated sites and have in common the perception of Chernobyl as a “traumascape” (Tumarkin), which is saturated with an invisible, radioactive, and at the same time affective “atmosphere” (BĂśhme).","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：