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Vračanje Realnosti Vračanje Realnosti ���� �������� � �������� ����� Filmska ustvarjalnost in njena refleksija sta v zadnjih dvajsetih letih doživeli vrsto pomembnih premikov, ki so na eni strani posledica razmaha digitalnih tehnologij, na drugi pa odražajo premeščanje inventivnosti iz tradicionalnih filmskih centrov v območja, ki so še nedavno sodila na njihovo obrobje. Najbolj korenito se ti premiki odražajo v produkciji gibljivih podob, ki jo opredeljujeta izraza novi svetovni film in novi realizem. Preko analize njunih vidikov odkrivamo specifične oblike odporništva, s katerimi lahko filmska Andrej Šprah umetnost prispeva k spremembam v razmerju človeka in sveta. Andrej Šprah je filmski teoretik, pisatelj in avtor številnih esejev in razprav, v katerih raziskuje fenomene dokumentarizma in svetovnega družbeno-angažiranega filma. Njegove samostojne izdaje obsegajo študijo v knjigi Pogib in počas (Studia humanitatis, 1997), referenčno monografijo Dokumentarni film in oblast (Slovenska kinoteka, 1998), zbirko esejev o sodobnem slovenskem filmu Osvobajanje pogleda (Slovenska kinoteka, 2004) in knjigo Prizorišče odpora (Društvo za širjenje filmske kulture KINO!, 2010), ki predstavlja dokumentarni pol pričujoče raziskave novega realizma. Za svoj doprinos k domači teoriji filma je leta 2011 prejel nagrado Zlata ptica. Vračanje Andrej Šprah Vračanje realnosti Vračanje realnosti ���� �������� � �������� ����� cena: 20,00 € ISBN 978-961-6417-66-2 ����-��������� ����-��������� ������ ����-��������� Slovenska kinoteka kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 1 27.1.2012 14:45:11 Vračanje realnosti: novi realizem v sodobnem filmu Andrej Šprah CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana ���.�.���.�"��" ŠPRAH, Andrej Vračanje realnosti : novi realizem v sodobnem filmu / Andrej Šprah. - �. izd. - Ljubljana : Slovenska kinoteka, ����. - (Zbirka Kino-raziskave) ISBN ���-���-����-��-� ��������� kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 2 27.1.2012 14:45:12 Andrej Šprah Vračanje realnosti ���� �������� � �������� ����� Slovenska kinoteka Ljubljana kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 3 27.1.2012 14:45:12 kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 4 27.1.2012 14:45:12 K����� Uvod 7 1 Filmski realizem in njegove kontroverze 19 2 Tradicionalna pojmovanja filmskega realizma 35 3 Vidiki reprezentacije in filmsko uprizarjanje realnosti 51 4 Progresivni ali kritični realizem 65 5 Na poti k novemu realizmu 89 5.1 Svetovni film 90 5.2 Filmska transnacionalnost 95 5.3 Transvergentne kino krajine 111 5.4 Novi svetovni film 128 6 Novi realizem 137 7 Sodobni politični film 157 7.1 Francoski novi realizem in njegova refleksija 157 7.2 Konfiguracije aktualnega kritičnega filma 169 8 Modusi subjektivacije: študije primerov 193 8.1 Dogma 95 194 8.1.1 Reševanje realnosti 198 8.1.2 Posilstvo realnosti 203 8.1.3 Dogmatični realizem 208 8.2 Tretji film kot vrsta osvobodilnega kina 216 8.2.1 Novi iranski film 223 8.2.2 Javni in osebni svet deprivilegiranih 231 8.2.3 Navzočnost v odsotnosti 238 8.3 Neominimalizem 246 8.3.1 Trajna dvojna ekspozicija 253 8.3.2 Plan sekvenca v realnem času 258 8.3.3 Marginalnost kot stanje in kraj odpora 267 8.3.4 Možnosti individualne subjektivacije 270 9 Dispozitivi vidnosti 277 10 Sklep 305 Seznam citirane literature 311 Stvarno in imensko kazalo 319 Kazalo filmskih naslovov 329 kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 5 27.1.2012 14:45:12 kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 6 27.1.2012 14:45:12 Mojim trem najdragocenejšim virom moči, želje in navdiha, ki vizije podob prežemajo z magijo dejanskosti. kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 7 27.1.2012 14:45:12 kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 8 27.1.2012 14:45:12 Uvod Film – njegovo platno, njegova občutljiva membrana – je napet, obe- 7 šen med svetom, v katerem je reprezentacija skrbela za znamenja resnice, za oznanjanje smisla ali za jamstvo neke prihodnje navzoč- nosti, in svetom, ki se skozi izvotlitev, v kateri se realizira njegova premišljujoča razvidnost, odpira v lastno navzočnost. Jean-Luc Nancy Filmska ustvarjalnost in njena refleksija, ki se jima posveča pričujo- ča raziskava, sta v zadnjih dvajsetih letih doživeli vrsto pomembnih premikov, ki so odločilno vplivali tudi na najaktualnejša kreativna in teoretska zavzemanja. Spremembe, s katerimi se dandanes soočamo, so na eni strani posledica silovitega razmaha novih, zlasti digitalnih tehnologij, ki so se usidrale v obstoječih in prispevale k uveljavitvi novih avdiovizualnih medijev, na drugi strani pa odražajo premešča- nja inventivnosti ter inovativnosti iz tradicionalnih centrov filmske produkcije v območja, ki so še nedavno sodila na njihovo obrobje. Takšna dogajanja so odločilno vplivala tako na »geostrateško« pre- razporeditev izvorov kreativnih pobud kakor na modifikacije izhodišč samih ustvarjalnih raziskovanj. Najbolj korenito se ti tektonski pre- miki odražajo v produkciji gibljivih podob, ki jo – izhajajoč iz tradici- onalnih filmskih klasifikacij – opredeljujeta izraza novi svetovni film in novi realizem. Med odločilnimi dejavniki novih konstelacij izpostavljamo še po- sebej vznemirljiv fenomen vnovičnega in predrugačenega teoretske- ga zanimanja za družbeno realnost. Na drugi strani pa centralno problemsko torišče raziskave predstavljajo razmerja, ki jih aktualna Uvod kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 7 27.1.2012 14:45:12 kinematografska zavzemanja sklepajo z dejanskostjo. Na osnovi ana- lize teh vidikov razvijamo tezo, da se v novem svetovnem filmu skozi procese transformacije in preizpraševanja dejavnikov reprezentacije realnosti porajajo specifične zasnove odporništva, s čimer je filmu po- vrnjena legitimnost umetnosti, ki je s predlaganjem novih idej zmožna spodbuditi k neposrednemu angažmaju in tako ustvarjalno prispevati k spremembam v strukturi razmerja človeka in sveta. Poglavitni namen raziskave je razrešitev dileme, v kolikšni meri so spremembe, ki bistveno določajo novonastale stilske in kulturne for- 8 macije, vplivale tudi na ustroj tiste filmske ustvarjalnosti, ki se sooča z dejanskostjo in prikazuje stvarne osebe v njihovih okoljih na umišljeni način; na način torej, ki temelji – po opredelitvi Filmskega leksikona – »na fiktivnem, izmišljenem in posebej uprizorjenem, insceniranem do- gajanju«. Kljub prevladujočemu deležu fikcionalnosti kot osnovnemu merilu izbora obravnavanih del pa so same metode njihovih pristopov k izbranim tematikam pogosto zaznamovane z ustvarjalnim prepletom dispozitivov igranega in dokumentarnega filma. Znotraj teh, najširše zamejenih izhodišč se tako sprašujemo: ali se je v času podob, ki jih je mogoče digitalno (re)producirati, odločilno spremenila tudi nara- va same vizualne zasnove realnosti – in posledično dejavniki njene reprezentacije? V izhodišču bomo skušali odgovoriti na vprašanje, zakaj so v zgo- dovini filmske umetnosti ključni prelomni momenti – ki so jih povzro- čile bodisi tehnološke inovacije bodisi družbeno pogojevane kreativne spodbude – tako pogosto zaznamovani s preizpraševanjem, preformu- liranjem ali vnovično problematizacijo dejavnikov zaobjetja življenja »takšnega, kakršno je«, oziroma filmske reprezentacije realnosti. In tudi zakaj je prav »koeficient (ne)resničnosti« oziroma manipulaci- je tisti odločujoči dejavnik, prek katerega se izkristalizira, ali imamo v določenih zavzemanjih opraviti z »modelom« filma ali s filmsko »prakso«? »Prakso« v smislu, s katerim Jean-Louis Comolli oprede- ljuje tiste kreativne dosežke, ki so – spričo zavračanja apriornih po- menov in ustaljenih razmerij ter njihovega reproduciranja – sposobni preseči »brezoblično nekinematografsko stopnjo« mainstreamovske produkcije, ki jemlje svet za svoj model, ter se povzdigniti do stopnje Vračanje realnosti: novi realizem v sodobnem filmu kino-raziskave_sprah_ekonom_zamenjane_stevilke_26_01.indd 8 27.1.2012 14:45:12 »kinematografske oblike«, v kateri podobe sveta svobodno variirajo v pomenih in razmerjih. Obravnave navedenih aspektov in v njih zaostrenih problemskih zastavkov se lotevamo na osnovi prepričanja, da so omenjeni premiki zatresli temelje obeh izvornih filmskih pojavnih oblik – umišljenega in dejanstvenega – oziroma dveh njegovih osnovnih panog: igranega in dokumentarnega filma. V silovitosti sprememb, ki so segle do sa- mih izvorov kreacije, se je v prvem planu (znova) znašla prav njuna izjemna metodološka prepletenost. Razmerje med obema generativni- ma panogama filmske umetnosti tako dobiva poseben pomen znotraj 9 tistega segmenta ustvarjalnosti, kjer se prepletata dokumentarni in igrani dispozitiv, pri čemer nas bo zanimal predvsem status prvega v zasnovi specifičnih realnosti igranega filma.1 Pri tem ne gre le za upo- rabo distinktivnih dokumentarnih kreativnih prijemov v uprizoritve- nih praksah, temveč tudi za prevzem določenega pogleda, za zasnovo filmskega dogodka na način, ki zamaje ustaljena predstavna razmer- ja. Hkrati pa preseneča odkritje, da je v obravnavanem obdobju za najradikalnejše pristope igranega filma značilno izrazito približevanje družbeni realnosti, medtem ko dokumentarni film v njegovih najbolj progresivnih prijemih zaznamuje opazen odmik od neposrednega son- diranja dejanskosti. Takšen odklon je še zlasti zaznaven v tistih oblikah dokumentarnega esejizma, ki k obravnavi sveta pristopajo posredno, prek že posnetih filmskih podob, ki jih aranžirajo in vrednotijo v novih sopostavitvah. K vprašanju »realnosti«, ki je v sferi vizualnih umetnosti tesno po- vezano z dilemami reprezentacije, pristopamo
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