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Who, with Whom, about What, for Whom. The Genesis of the Television Song Format and Culture Industries Cooperation in Czechoslovakia in the 1960s 谁，和谁，关于什么，为了谁。1960年代捷克斯洛伐克电视歌曲形式与文化产业合作的起源

Iluminace Pub Date : 2020-06-01 DOI: 10.58193/ilu.1662

Miroslava Papežová

引用次数: 1

Netnographic Cinema as a Cultural Interface 网络电影作为一种文化界面

Iluminace Pub Date : 2020-06-01 DOI: 10.58193/ilu.1665

Chloé Galibert-Laîné

引用次数: 1

On Interfaces as Moving Image Configurations in Space 在空间中作为移动图像配置的接口

Iluminace Pub Date : 2020-06-01 DOI: 10.58193/ilu.1664

Miriam De Rosa

引用次数: 0

Mystical-Type Experience at The Virtual Reality Interface. Technics, Aesthetics, and Theology in the Search for Cosmic Connection 虚拟现实界面的神秘体验。寻找宇宙联系的技术、美学和神学

Iluminace Pub Date : 2020-06-01 DOI: 10.58193/ilu.1666

Dan Strutt

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引用次数: 3

Elektafilm presents Vlasta Burian. Financing of Feature Films with Multiple Language Versions in Czechoslovakia in the First Half of the 1930s Elektafilm向Vlasta Burian介绍。20世纪30年代上半叶捷克斯洛伐克多语言版本故事片的融资

Iluminace Pub Date : 2020-03-01 DOI: 10.58193/ilu.1655

Michal Večeřa

引用次数: 0

Lamač Karel 1897-1952 LamačKarel 1897-1952

Iluminace Pub Date : 2020-03-01 DOI: 10.58193/ilu.1659

Luboš Marek

引用次数: 0

Ivan Tatíček - from Amateur Film to Professional Video Production Ivan Tatíček从业余电影到专业视频制作

Iluminace Pub Date : 2020-03-01 DOI: 10.58193/ilu.1656

Martin Blažíček, Sylva Poláková