Iluminace Pub Date : 2024-01-16 DOI: 10.58193/ilu.1765

Marek Danko - Petr Hasan - Lucie Hurtová

引用次数: 0

Animated Film and the Doubts of the Space Age. About Scepticism in Václav Mergl's films: Laokoon, Crabs and Homunculus 动画电影与太空时代的疑虑。关于瓦茨拉夫-梅尔格尔电影中的怀疑主义：Laokoon》、《螃蟹》和《Homunculus》。

Iluminace Pub Date : 2024-01-16 DOI: 10.58193/ilu.1766

Veronika Liptáková

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"The Victims Were Apparently Eaten". Reflections of the Japanese Aesthetics and Society of the 1990s in the Resident Evil Trilogy (1996-1999) "受害者显然被吃掉了"。生化危机》三部曲（1996-1999 年）对 1990 年代日本美学和社会的反思

Iluminace Pub Date : 2024-01-16 DOI: 10.58193/ilu.1770

Josef Tichý

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(More than) Competently about Incompetence. Becky Bartlett, Badfilm: Incompetence, Intention and Failure (Edinburgh: Edinburgh University Press, 2021). (胜过）无能。贝基-巴特利特，《糟糕的电影》：无能、意图与失败》（爱丁堡：爱丁堡大学出版社，2021 年）。

Iluminace Pub Date : 2024-01-16 DOI: 10.58193/ilu.1769

Jan Bergl

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Walking Through the Whale: Immersive Exhibition Design As a Form of Museum Communication 穿越鲸鱼作为博物馆交流形式的沉浸式展览设计

Iluminace Pub Date : 2024-01-16 DOI: 10.58193/ilu.1768

Ondřej Táborský

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Nation-building Across Media. Lumière films' intervention in the Hungarian visual sphere 跨媒体的国家建设。卢米埃尔电影对匈牙利视觉领域的干预

Iluminace Pub Date : 2024-01-16 DOI: 10.58193/ilu.1767

Izabella Füzi

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Traumatic Landscapes from Above: Images of Colonization and Violence in the Sea of Plastic 从上面看创伤景观:塑料海洋中的殖民和暴力图像

Iluminace Pub Date : 2023-11-09 DOI: 10.58193/ilu.1755

Miguel Fernández Labayen - Loreto García Saiz

{"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":" 28","pages":"0"},"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}

引用次数: 0

Oldřich Nový Never Actually Left Oldřich Nový从未真正离开过

Iluminace Pub Date : 2023-11-09 DOI: 10.58193/ilu.1763

Valerie Coufalová

引用次数: 0

The Rhythms of the More-than-human Matter in Azucena Losana's Eco-developed Film Series Metarretratos 阿祖塞纳·洛萨纳生态电影系列中超越人类的物质的节奏

Iluminace Pub Date : 2023-11-09 DOI: 10.58193/ilu.1758

Salomé Lopes Coelho

{"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":" 31","pages":"0"},"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}

引用次数: 0

'Traumatomic' Encounters. Trauma through Radioactivity in Photofilmic 'Experimental Documents' of Chernobyl Traumatomic相遇。切尔诺贝利照相“实验文件”中的放射性创伤

Iluminace Pub Date : 2023-11-09 DOI: 10.58193/ilu.1760

Beja Margitházi

{"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":" 26","pages":"0"},"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}

引用次数: 0

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