Poj'te k filmu!

Svatonov�, Katerina; Lo�t�kov�, Mark�ta; Hanzl�k, Jan
January 2012
Iluminace;2012, Vol. 24 Issue 1, p5
Academic Journal
Since the beginning of the 20th century popular journals played a significant role in the formation of film audiences. The study focuses on the way film periodicals published in the Czech lands communicated with their readers during the interwar period and during the Second World War with their readers, what strategies editors employed to stimulate readers/spectators to buy journals and to participate on contemporary popular culture. The study tries to reconstruct the image of film spectators -- it analyses what a film spectator represented in contemporary discourse and what image of the film world was offered to him or her. The textual analysis of cultural magazines, lifestyle magazines (Eva, Hvezda, Humoristick� t�den�k etc.) and entertaining film magazines (e.g. Kinorevue, Cesk� filmov� svet, Cesk� filmov� zpravodaj, Cesk� kinematograf, Divadlo budoucnosti, Kino, Kino a film, etc.) is not limited to main texts and sections dedicated to e. g. sensational reports from the private lives of stars and the latest news from the world of film, but focuses also on seemingly peripheral parts of the magazines, e. g. ads, correspondence sections, competitions, quizzes, inquiries and texts inviting readers to take interest in the world of film. The analysis reveals an image of the contemporary model spectator as well as an essential ambivalence of film magazines. The film spectator / reader of contemporary film magazines is presented as a modern individual whose elementary characteristics include good taste, education, healthy lifestyle, modern housing and meaningful use of expanding leisure time, which includes not only an interest in sports, taking care of the body as well as fashion, but also attending film theaters. In many cases, such activity turned into -- also thanks to invitations from magazines -- into a pathological desire to enter the film world and become a star. Film magazines continually encouraged spectators in this "illness" and at the same time warned them against it. Thus they created a cyclical model of reception that could ideally and permanently stimulate spectators' attention and activities. How does such ambivalence relate to contemporary discourse, intertextual relations in contemporary culture and particularly to the star system? What happens when a "pathological" reader appropriates the position of a star?


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