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Hrvatski Filmski LJET OPIS 44/2005

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Hrvatski Filmski LJET OPIS 44/2005 hfl_44k:hfl_44k.qxd 2010-12-06 11:40 Page 1 Hrvatski filmski LJETOPIS 44/2005 Svim ~itateljima i suradnicima `elimo sretnu 2006. godinu te dobar nastavak uzajamna povjerenja i suradnje CODEN.HFLJFV UDK 791.43/45 Hrvat.film.ljeto. god. 11. (2005.) br. 44 str.1-189 ISSN 1330-7665 44/2005. CODEN HFLJFV Sadr`aj / Contents ANIMACIJSKE STUDIJE ANIMATION Giannalberto Bendazzi: DEFINIRATI ANIMACIJU 3 Giannalberto Bendazzi: DEFINING ANIMATION 3 Midhat Ajanovi}: OGLED O MIKROKADRU 8 Midhat Ajanovi}: AN ESSAY ON MICRO SHOT 8 Marcin Giûycki: KRATKA POVIJEST POLJSKE ANIMACIJE 20 Marcin Gizycki: SHORT HISTORY OF POLISH ANIMATED FILM 20 Hrvoje Turkovi}: MO@E LI ANIMIRANI FILM BITI Hrvoje Turkovi}: COULD ANIMATED FILM BE DOCUMENTARY? DOKUMENTARISTI^AN? 28 28 FESTIVALI FESTIVALS Goran Kova~: TRE]I ZAGREBA^KI FILMSKI FESTIVAL 33 Goran Kova~: THIRD ZAGREB FILM FESTIVAL 33 Hrvoje Turkovi}: MEDITATIVNE IGRE (PRVI 25FPS INTERNACIO- Hrvoje Turkovi}: MEDITATIVE GAMES (FIRST 25FPS INTERNA- NALNI FESTIVAL EKSPERIMENTALNOG FILMA I VIDEA) 38 TIONAL FESTIVAL OF EXPERIMENTAL FILM AND VIDEO) 38 REPERTOAR REPERTOIRE KINOIZBOR 45 CINEMA THEATRES 45 VIDEOIZBOR 87 VIDEO 87 TUMA^ENJA INTERPRETATIONS Janko Heidl: NICK BROOMFIELD ^OVJEK S FILMSKIM Janko Heidl: NICK BROOMFIELD THE MAN WITH THE MIKROFONOM 101 MICROPHONE 101 STUDIJE I ISTRA@IVANJA IZ POVIJESTI HRVATSKOG FILMA STUDIES AND RESEARCHES FROM THE HISTORY OF CROA- TIAN FILM Dejan Kosanovi}: FILM KAO POVIJESNI IZVOR ZA PROU^AVANJE Dejan Kosanovi}: FILM AS HISTORICAL SOURCE FOR THE STUDY OF RIJE^KE INDUSTRIJSKE BA[TINE 107 RIJEKA INDUSTRAL HERITAGE 107 Jurica Pavi~i}: LOPTA I ^EKI]: KOLEKTIV I INDIVIDUA U GOLIKOVU Jurica Pavi~i}: A BALL AND A HAMMER: THE COLLECTIVE AND FILMU PLAVI 9 111 THE INDIVIDUAL IN GOLIKS FILM BLUE 9 111 Ante Peterli}: H-8... NEKO] I SAD 119 Ante Peterli}: H-8... THEN AND NOW 119 Irena Paulus: KONCEPT GLAZBE U TANHOFEROVU H-8... 141 Irena Paulus: THE CONCEPT OF MUSIC IN TANHOFERS H-8... 141 STUDIJE I ISTRA@IVANJA ARHIVISTI^KE STUDIES AND RESEARCHES ARCHIVIST AND I KINEMATOGRAFIJSKE TEME CINEMATOGRAPHIC THEMES Mato Kukuljica: MORALNI I PRAVNI ASPEKTI ^UVANJA, ZA[TITE I Mato Kukuljica: MORAL AND LEGAL ASPECTS OF PRESERVATION, RESTAURACIJE FILMSKOGA GRADIVA 149 PROTETCION AND RESTORATION OF FILM STOCK 149 Sini{a Juri~i}: ESTONSKA KINEMATOGRAFIJA ILI ^INI LI VAM SE SVE Sini{a Juri~i}: ESTONIAN CINEMA OR DOES IT ALL SEEM FAMILIAR OVO POZNATIM? 159 TO YOU? 159 POVODOM KNJIGA BOOK REVIEWS Nikica Gili}: POVIJESNO SJE]ANJE 167 Nikica Gili}: HISTORICAL REMEMBRANCE 167 Petar Krelja: OSTAV[TINA ZA BUDU]NOST 169 Petar Krelja: LEGACY FOR THE FUTURE 169 REAGIRANJA 173 REACTIONS 173 LJETOPISOV LJETOPIS CHRONICLES CHRONICLE KRONIKA 175 CHRONICLE 175 BIBLIOGRAFIJA 177 BIBLIOGRAPHY 177 SA@ECI 179 SUMMARIES 179 O SURADNICIMA 187 ON CONTRIBUTORS 187 44/2005. HRVATSKI FILMSKI LJETOPIS THE CROATIAN CINEMA CHRONICLE ISSN 1330-7665 ISSN 1330-7665 UDK 791.43/.45 UDC 791.43/.45 Hrvat.film.ljeto., god. 11. (2005), br. 44 Hrvat.film.ljeto., Vol 11 (2005), No 44 Zagreb, prosinac 2005. Zagreb, December 2005 Copyright 1995: Croatian Film Clubs Association Nakladnik: Publisher: Hrvatski filmski savez Croatian Film Clubs Association Utemeljitelji: Founders: Hrvatsko dru{tvo filmskih kriti~ara, Croatian Society of Film Critics, Hrvatski dr`avni arhiv Hrvatska kinoteka, Croatian State Archive Croatian Cinematheque, Filmoteka 16 Filmoteka 16 Za nakladnika: Publishing Manager: Vera Robi}-[karica Vera Robi}-[karica Uredni{tvo: Editorial Board: Bruno Kragi} (glavni urednik), Nikica Gili}, Ivo [krabalo, Bruno Kragi} (editor-in-chief), Nikica Gili}, Ivo [krabalo, Hrvoje Turkovi}(odgovorni urednik), Tomislav [aki} (izvr{ni Hrvoje Turkovi}(supervising editor), Tomislav [aki} (managing urednik), Katarina Mari} (kino i videorepertoar) editor), Katarina Mari} (repertoire) Likovni urednik: Design: Luka Gusi} Luka Gusi} Lektorica: Croatian language advisor: Sa{a Vagner-Peri} Sa{a Vagner-Peri} Prijevod sa`etaka: Translation of summaries: Mirela [karica Mirela [karica Priprema: Prepress: Kolumna d.o.o., Zagreb Kolumna d.o.o., Zagreb Tisak: Printed by: Tiskara CB Print, Samobor Tiskara CB Print, Samobor Hrvatski filmski ljetopis izlazi tromjese~no u nakladi od 1000 CCC is published quarterly, with circulation of 1000 copies primjeraka. Price of each copy: 18 =C Cijena ovom broju 50 kn Godi{nja pretplata: 150.00 kn Subscription abroad: 60 US Dollars, 60 =C @iro ra~un: Zagreba~ka banka, Account Number: br. ra~una: 2360000-1101556872 2100058638/070 S.W.I.F.T. ZABA HR 2X Za inozemstvo: 60.00 USD, 60.00 =C Adresa uredni{tva: Editors Adress: 10000 Zagreb, Tu{kanac 1 Hrvatski filmski ljetopis / Croatian Cinema Chronicle tel: 385 01/48 48 771, 385 01/48 48 764 Hrvatski filmski savez / Croatian Film Clubs Association fax: 385 01/48 48 764 Tu{kanac 1 E-mail: [email protected] 10000 Zagreb, Croatia [email protected] tel: 385 1/48 48 771 [email protected] fax: 385 1/48 48 764 Web stranica: www.hfs.hr E-mail: [email protected] Hrvatski filmski ljetopis evidentiran je u International Index to [email protected] Film/TV Periodicals, Rue Defacqz 1, 1000 Bruxelles, Belgium. [email protected] Web site: www.hfs.hr Cijena oglasnog prostora: 1/4 str. 5.000,00 kn 1/2 str. 10.000,00 kn Hrvatski filmski ljetopis (The Croatian Cinema Chronicle) is 1 str. 20.000,00 kn indexed in the International Index to Film/TV Periodicals, Rue Defacqz 1, 1000 Bruxelles, Belgium Hrvatski filmski ljetopis izlazi uz potporu Ministarstva kulture Republike Hrvatske i Gradskog ureda za kulturu, Zagreb CCC is subsidized by the Ministry of Culture, Nakladnik je upisan u Upisnik HGK o izdavanju i distribuciji Republic of Croatia and Zagreb City Office for Culture tiska pod rednim brojem 396. Naslovnica: Mladen Buri} (po kadrovima iz filma Front Page: Photo: Mladen Buri} (frames from H-8... N. Tanhofera H-8, N. Tanhofer) ANIMACIJSKE STUDIJE UDK: 791.228 Giannalberto Bendazzi Definirati animaciju Trnoru`ica (W. Disney) »Umjetnost je«, pisao je Dino Formaggio u uvodu svoje animacija prema vizualnoj umjetnosti odnosi kao u`a prema Umjetnosti kao ideje i kao iskustva,1 »sve ono {to ljudi zovu {iroj obitelji). umjetno{}u.« I dodao je: »Ovo nije, kako bi netko mogao po- Stoga: »Animacija je sve ono {to ljudi, u razli~itim razdoblji- vjerovati, uobi~ajena uvodna dosjetka, nego radije jedina pri- ma povijesti, nazivaju animacijom.« hvatljiva i provjerljiva definicija koncepta umjetnosti.« Dopustio sam si dijelom izmijeniti izvorni izraz jer sam, kao Anticipirat }u zaklju~ke ove kratke studije kako bih predlo- povjesni~ar, izrazito osjetljiv na brze promjene zna~enja ko- `io da se animacija2 definira ba{ parafrazom pristupa milan- jega rije~i zaprimaju promjenom mentaliteta, a posebice teh- skog mislitelja, mo`da s naknadnim naglaskom na element nologije, tijekom godina koje sam dijelom i sam pro`ivio. vremena kojemu je posvetio daljnje odlomke. (On je analizi- rao vizualnu umjetnost in toto te je potrebno implicitno Vrijedno je istaknuti kako se izme|u 1895. i 1910. termin upozoriti kako se, `elimo li primijeniti taksonomski pogled, animated upotrebljavao ba{ za ono {to mi danas smatramo 3 HRVATSKI FILMSKI LJETOPIS 44/2005. Hrvat. film. ljeto, Zagreb / god 11 (2005), br. 44, str. 3 do 7 Bendazzi, G.: Definirati animaciju suprotno{}u predmetu na{eg zanimanja i {to nazivamo live [to se, pak, ti~e op}eg mi{ljenja, velik dio gledatelja, pa ~ak action, odnosno »kinematografijom istine«. Tada se govori- i onih koji se bave prou~avanjem filma, desetlje}ima je, a po- lo »animirana fotografija«; malo kasnije je na snagu stupio nekad i danas,4 nastavljao animirani film razvrstavao me|u ne manje rudimentarni izraz motion picture ili moving pic- `anrove, pored vesterna, space opere, ratnih filmova itd. ture; animated cartoon je postao slu`benim izrazom tek izla- skom iz tiska prve knjige koja je razmatrala to podru~je (E. Imenicu animation po~eli su upotrebljavati francuski stru~- G. Lutz, Animated Cartoons. How They Are Made, Their njaci 1950-ih, kada se izme|u Pariza i Cannesa konsolidirao Origin and Development, Scribners, New York 1920). Do- me|unarodni kulturni pokret koji je za ovaj izraz tra`io spe- voljno je prelistati kinoprograme koje je izme|u 1925. i cifi~ni dignitet i protivio se hegemoniji kako estetskoj, tako i ekonomskoj recepta koji je nametnuo Walt Disney 1939. izradio jedan od prvih i najpresti`nijih kinoklubova po~ev{i od 1928. (kratkometra`nim filmom Parobrod Willi- na svijetu, London Film Society, kako bismo se uvjerili da u e, utemeljenim na Mickeyju Mouseu), a koji je oja~ao od prvoj polovici stolje}a ideja pojma animation nije bila pro{i- 1937. (dugometra`nim filmom Snjeguljica i sedam patulja- rena kako je to, pak, slu~aj danas na apstraktne filmo- ka). ve Ruttmanna, Fischingera ili Richtera, koji su bili radije de- finirani kao experimental works i pridru`eni ostalima koje u Godine 1960. u gradi}u Annecy, smje{tenom na obali jezera dvijetisu}itoj svrstavamo u, istina, avangardne filmove, no u Gornjoj Savoji, odr`an je prvi Me|unarodni festival ani- »istinite«; pa i da sam termin animation nije postojao kao miranoga filma na svijetu. imenica, nego isklju~ivo kao particip pro{li u zajednici s ri- je~ima »karikatura« i »vinjeta« (animated cartoon, kako je Netom spomenuti pokret pokrenuo je 1962. stvaranje Me- ve} re~eno). |unarodnog udru`enja animiranog filma (Association inter- nationale du film danimation, ASIFA), neke vrste OUN si- neasta i osoba koje se bave ovim podru~jem, a ~iji je statut u Jo{ 1949, u svojoj vrlo utjecajnoj znanstvenoj knjizi Der preambuli naveo prvu slu`benu definiciju: »Dok film (live Film. Werden und Wesen einer neuen Kunst,3 teoreti~ar Béla action) putem fotografije donosi mehani~ku analizu doga|a- Balász je odvojio dva koncepta, govore}i u XIV. poglavlju o ja koji su sli~ni onima koji }e biti prikazani na ekranu, ani- »apsolutnom« i »apstraktnom« filmu te o »animiranim crte- macijska kinematografija stvara doga|aje pomo}u instrume- `ima«, koje je u XV.
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