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Phd Kraljacic Postmodernizam.Pdf (2.389Mb) Mr Dejan Nikolaj Kraljačić DOKTORSKA DISERTACIJA BEOGRAD 2016 UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET DRAMSKIH UMETNOSTI POZORIŠTA, FILMA, RADIJA I TELEVIZIJE POSTMODERNIZAM I MODERNI FILM SA POSEBNIM OSVRTOM NA PERIOD OD 1970. GODINE DO DANAS DOKTORSKA DISERTACIJA KANDIDAT Mr Dejan Nikolaj Kraljačić MENTORKA Red. prof. dr Maja Volk BEOGRAD 2016 © Copyright by Dejan Nikolaj Kraljačić 2016 APSTRAKT Polazeći od mišljenja da postmodernizam, kao stilski i estetski pravac na filmu, nije dovoljno objašnjen - jasno definisan, a pripadnost istom se opet pripisuje brojnim autorima i filmskim ostvarenjima različitih poetika širom sveta, cilj ove disertacije je da utvrdi da li se zaista dogodio vidljivi prelom u filmskom izrazu koji je rezultirao specifičnim filmskim pojavama jedne nove, zajedničke postmodernističke estetike, a koja počinje da se javlja od ranih 1970-ih godina, razdoblju u kojem se prepoznaju i prvi postmodernistički filmovi. Rad najpre istraţuje genezu pojma i osnovna polazišta postmodernističke misli (izlaţući stanovišta najrelevantnijih teoretičara područja) da bi jasno utvrdio karakteristike postmodernističkog umetničkog izraza - konkretno na filmskom planu, a potom ih dovodi u direktnu vezu sa osobenostima filmskog medija i brojnim pojavama tokom njegove istorije, odnosno preispituje ih kroz niz primera aktuelnih autorskih slikopisa koji slove za postmodernističke, pre svega sa američkog i evropskog podneblja gde se na ovu temu i najviše polemisalo. Opseţne analize filmskih strujanja tokom istorije, kao i savremene filmske tendencije, brojni autopoetički iskazi autora i obimna literatura, pokazali su: kako smo sve idejno-estetske koncepte aktuelne danas, u manjoj ili većoj meri, imali prilike da uočimo na filmu do 1970. godine; da sami filmski stvaraoci u sopstvenom radu većinski nisu voĎeni postmodernističkim premisama; kao i prisutnost neutemeljenih stavova dela teorijske misli u domenu (filmske) umetnosti, gde je izvesni broj kritičara pre voĎen izvanfilmskim parametrima vrednovanja, favorizujući sociokulturološki i političko- ekonomski diskurs (neretko posmatrajući iz subjektivnog ugla, čak i ideološki pristrasno) i naročito modernistički film (opet u priličnoj vezi sa preferiranim društvenim kontekstom), negoli objektivnijem i sveobuhvatnijem, stilsko-estetskom i naratološkom procenjivanju. Time su se i polazne hipoteze istraţivanja ispostavile tačnim, dokazujući da postmodernizam na filmu ne sadrţi dovoljno zrelu, koherentnu stilsko-estetsku bazu zbog koje bi se tretirao i legitimno novim, prepoznatljivim filmskim izrazom - pravcem. Ključne reči: postmodernizam, film nostalgije, istorija filma, pastiš, intertekstualnost, aistoričnost, ţanr, rimejk, serijalizacija, fragmentarnost, naracija igranog filma. ABSTRACT Although the notion of postmodernism per se, as a specific (film) style and aesthetic, is not sufficiently explained nor clearly defined, the label postmodern is still being attributed to many filmmakers and movies around the globe, despite their significantly different filmic approach. This thesis aims at determining whether an evident break has truly occurred in film expression resulting in distinctive cinematic features representative of new postmodern aesthetics that emerged during the early 1970s, when the first recognized postmodern films appeared. The thesis initially examines the historical genesis of the term postmodern and the basic ideas of postmodern thought, presenting concepts and opinions of the most prominent theorists in the field, to clearly identify features of postmodern artistic expression - in cinema particularly. These features are then compared to different aspects of the film medium, as well as numerous occurrences and phenomena throughout its history and scrutinized in relation to many styles of contemporary filmmaking practice labeled as postmodern, primarily from America and Europe where this issue has been argued the most. Comprehensive analysis of the film tendencies throughout history, as well as contemporary film trends, numerous filmmakers‘ statements, and voluminous literature showed that: all the aesthetic concepts of the current date, to a lesser or greater extent, can be detected prior to the 1970s; most filmmakers in their own work are not driven by postmodernist premises; considerable number of theorists rather incline towards the sociocultural and political economy approaches (often from subjective perspectives, even ideologically biased) thereby particularly championing modernist cinema (in conjunction with their preferred social context) instead of deploying more objective and comprehensive, aesthetic, stylistic and narratological film analyses. Therefore, the hypotheses are proven to be true, confirming that postmodernism in cinema does not contain enough mature and unified stylistic and aesthetic norms in order to represent a new, coherent and distinguishable film movement. Key words: postmodernism, nostalgia film, film history, pastiche, intertextuality, ahistoricity, genre, remake, serialization, fragmentation, narration in the fiction film. SADRŢAJ I UVODNO RAZMATRANJE ...................................................................................... 3 1.1. Predmet istraţivanja .................................................................................... 8 1.2. Ciljevi rada .................................................................................................. 8 1.3. Pojmovno-hipotetički okvir ........................................................................ 9 1.4. Metodologija naučnog rada ......................................................................... 12 II POSTMODERNO STANJE ...................................................................................... 14 2.1. Osnovna geneza pojma ............................................................................... 14 2.2. Terminološka nedoumica ............................................................................ 17 2.3. Modernizam protiv postmodernizma .......................................................... 21 2.4. Postmodernističke premise - osnove koncepta ........................................... 27 2.5. Kraj metanarativa po Liotaru ...................................................................... 34 2.6. Film nostalgije po Dţejmsonu .................................................................... 37 2.7. Simulakrum retro scenarija po Bodrijaru .................................................... 42 III POSTMODERNIZAM I FILM ................................................................................ 48 3.1. Pastiš - parodija – intertekstualnost ............................................................ 51 3.2. (A)istoričnost - anahronost u doba nostalgične melanholije ....................... 58 3.3. Ţanr i metageneričke konstrukcije .............................................................. 71 3.4. Komercijalizacija i društvo spektakla - visoka & niska umetnost .............. 93 3.5. Rimejci i epizodičnost - serijalizacija fragmenata slike ..............................104 IV NARACIJA IGRANOG FILMA ..............................................................................119 4.1. Klasična struktura .......................................................................................129 4.2. Struktura mita ..............................................................................................137 V OSVRT NA FILMSKU PRODUKCIJU OD RANIH 1970-IH GODINA DO DANAS ......................................................................141 5.1. (Novi) Holivud i američki film ...................................................................141 5.1.1. De Palma: Obučen(a) da ubije ..........................................................154 1 5.1.2. Istrebljivač svoje vrste ......................................................................159 5.1.3. Razjareni bik bez razloga ..................................................................163 5.1.4. Matriks klasične matrice ...................................................................167 5.1.5. Petparačke priče uličnih pasa ............................................................172 5.1.6. Plavi somot Bulevara zvezda ............................................................183 5.2. Stari kontinent i novi film ...........................................................................188 5.2.1. Dihotomija ujedinjenosti evropskih kinematografija ili (Inter)nacionalni refleksi postmodernog društva ....................................190 5.2.1.1. Francuski neobarok .................................................................196 5.2.1.2. Nemački film u potrazi za identitetom ....................................200 5.2.2. Grinevejeve slike ili crtačev ugovor .................................................211 5.2.3. Lars fon Trir: surovost sentimenta i njegova pravila ........................218 5.2.4. Pedro Almodovar: motivacija kao balast savremenog urbanog ţivota .............................................................................................231 5.3. Uz SAD i Evropu... .....................................................................................233 VI ZAKLJUČNO RAZMATRANJE ............................................................................242 6.1. Odgovor na hipoteze ...................................................................................262 IZVORI I LITERATURA ..............................................................................................270 BIOGRAFIJA ................................................................................................................285
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