Razvoj Filma I Filmske Industrije

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Razvoj Filma I Filmske Industrije CORE Metadata, citation and similar papers at core.ac.uk Provided by Juraj Dobrila University of Pula Digital Repository Sveu čilište Jurja Dobrile u Puli Fakultet ekonomije i turizma «Dr. Mijo Mirkovi ć» ELIZABETA KOPI Ć RAZVOJ FILMA I FILMSKE INDUSTRIJE Završni rad Pula, srpanj, 2016. Sveu čilište Jurja Dobrile u Puli Fakultet ekonomije i turizma «Dr. Mijo Mirkovi ć» ELIZABETA KOPI Ć RAZVOJ FILMA I FILMSKE INDUSTRIJE Završni rad JMBAG: 1692-E, redoviti student Studijski smjer: financijski menadžment Predmet: Ekonomska povijest Znanstveno podru čje: podru čje društvenih znanosti Znanstveno polje: ekonomija Znanstvena grana: ekonomija Mentor: Prof.dr.sc. Marija Bušeli ć Pula, srpanj, 2016. IZJAVA O AKADEMSKOJ ČESTITOSTI Ja, dolje potpisani Elizabeta Kopić, kandidat za prvostupnika ekonomije ovime izjavljujem da je ovaj Završni rad rezultat isključivo mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na objavljenu literaturu kao što to pokazuju korištene bilješke i bibliografija. Izjavljujem da niti jedan dio Završnog rada nije napisan na nedozvoljen način, odnosno da je prepisan iz kojega necitiranog rada, te da ikoji dio rada krši bilo čija autorska prava. Izjavljujem, također, da nijedan dio rada nije iskorišten za koji drugi rad pri bilo kojoj drugoj visokoškolskoj, znanstvenoj ili radnoj ustanovi. Student Elizabeta Kopić U Puli, srpanj, 2016. IZJAVA o korištenju autorskog djela Ja, Elizabeta Kopić dajem odobrenje Sveučilištu Jurja Dobrile u Puli, kao nositelju prava iskorištavanja, da moj završni rad pod nazivom '' Razvoj filma i filmske industrije'' koristi na način da gore navedeno autorsko djelo, kao cjeloviti tekst trajno objavi u javnoj internetskoj bazi Sveučilišne knjižnice Sveučilišta Jurja Dobrile u Puli te kopira u javnu internetsku bazu završnih radova Nacionalne i sveučilišne knjižnice (stavljanje na raspolaganje javnosti), sve u skladu s Zakonom o autorskom pravu i drugim srodnim pravima i dobrom akademskom praksom, a radi promicanja otvorenoga, slobodnoga pristupa znanstvenim informacijama. Za korištenje autorskog djela na gore navedeni način ne potražujem naknadu. U Puli, srpanj, 2016. Potpis Elizabeta Kopić Sadržaj 1. Uvod ....................................................................................................................... 1 2. Film i filmska industrija ........................................................................................ 2 2.1. Povijest filma ..................................................................................................... 2 2.1.1. Stvaranje filma ............................................................................................ 10 2.1.2. Animacija .................................................................................................... 11 2.2. Ameri čki film i razvoj filmskog jezika ............................................................ 12 2.2.1. Povijest nijemog filma ................................................................................. 13 2.2.2. Dolazak zvu čnog filma ................................................................................ 15 2.2.3. Filmska avangarda i novi Hollywood ........................................................... 17 2.2.4. Filmska nagrada Oscar ............................................................................... 21 2.3. Filmska industrija ............................................................................................ 22 3. Razvoj filma u Hrvatskoj .................................................................................... 24 3.1. Film u Hrvatskoj od 1941. do 1960................................................................. 24 3.2. Film u Hrvatskoj od 1960. do danas ............................................................... 25 3.3. Strani filmovi snimljeni u Hrvatskoj ................................................................. 26 3.4. Hrvatski glumci i hrvatski filmovi u svijetu ...................................................... 27 4. Današnji položaj filma u odnosu na ostale medije .......................................... 29 4.1. Film i globalizacija .......................................................................................... 31 4.2. Budu ćnost filma.............................................................................................. 33 5. Film kao kulturna baština .................................................................................. 35 6. Financiranje snimanje filmova .......................................................................... 37 6.1. Izdvajanje iz prora čuna za financiranje filmova .............................................. 37 6.2. Pla će glumaca i ostalih suradnika na filmu .................................................... 39 7. Zaklju čak ............................................................................................................. 41 Literatura ................................................................................................................. 43 Sažetak .................................................................................................................... 45 Summary ................................................................................................................. 47 1. Uvod Film je složena pojava i osim toga sveop ći medij, za njega kao da ne postoje granice. Jednako ga gledaju u Tokiju, u New Yorku i u Zagrebu. Filmovi su tako popularni iz razloga što ih naj češ će svi mogu razumjeti, neovisno o rasi, kulturi, naciji, društvenom položaju, obrazovanju i vjerskoj pripadnosti. Film se obra ća masovnoj publici koriste ći se tehnologijom i tehnikom masovnih medija (to može biti filmska ili video vrpca, disketa, digitalna plo ča, ra čunalni program i dr.). Film jest, odnosno može biti i umjetnost. U kinematografiji nastaju brojni filmovi i koliko god se nastoji snimiti dobar film, često nastaju filmski proizvodi koji isklju čivo zabavljaju, a nemaju umjetni čkih vrijednosti. Kao industrija zabave (kako danas film često nazivaju) film gledatelju nudi opuštanje, ulazak u jedan druga čiji svijet, od onog svakodnevnog, koji je često i izmišljen. Problem istraživanja ovog završnog rada je razvoj filma, a predmet istraživanja je istražiti i utvrditi povijest svjetskog i hrvatskog filma. Svrha istraživanja je utvrditi važnost te društvenu i kulturnu ulogu filma. Cilj istraživanja je dati pregled razvoja filma u svijetu i Hrvatskoj te prikazati današnji položaj filma u odnosu na ostale medije. Pri istraživanju i formuliranju rezultata istraživanja u odgovaraju ćoj kombinaciji korištene su sljede će znanstvene metode: metoda analize i sinteze, metoda indukcije i dedukcije, metoda deskripcije, metoda apstrakcije i konkretizacije, komparativna metoda, empirijska metoda te metoda kompilacije. Rad se sastoji od šest me đusobno povezanih dijelova. U uvodu se predstavlja tema i opisuje problematika ovog završnog rada. U drugom dijelu rada se prikazuje povijest svjetskog filma, a u tre ćem dijelu povijest i razvoj filma u Hrvatskoj. Četvrti dio rada prikazuje današnji položaj filma u odnosu na ostale medije. U petom dijelu rada prikazana je filmska baština u vrijeme socijalizma i Domovinskog rata. A u zadnjem dijelu rada možemo vidjeti kako i na koji na čin se financira nastanak jednog filma. Zaklju čak, kao posljednji dio rada, predstavlja sintezu rezultata istraživanja i objedinjuje sva poglavlja u jednu cjelinu. 1 2. Film i filmska industrija U ovom poglavlju će se razmotriti i detaljnije opisati razvoj filmske industrije, povijest filma sve od samih po četaka stvaranja filma i animacije. Tako đer, prikazat će se i razvoj ameri čkog filma sve od povijesti nijemog filma, nakon čega slijedi razdoblje zvu čnog filma pa razdoblje filmske avangarde i novog Hollywooda. U ovom dijelu rada opisat će se i najpoznatija filmska nagrada Oscar i ukratko njena povijest nastanka . 2.1. Povijest filma Povijest filma seže u daleku prošlost, no najzna čajniji razvoj filma odvija se tijekom 19. i 20. stolje ća. Film se postupno razvio od karnevalske novine do najzna čajnijeg oblika komunikacije, zabave i masovnih medija 20. stolje ća. U isto vrijeme, film je imao zna čajan utjecaj na umjetnost, tehnologiju i politiku (Miki ć, 2010, str. 1). Izum camere obscure smatra se po četkom razvoja filma. Prve skice je skicirao je 1521. godine Leonardo da Vinci. Camera obscure je bio prenosivi sanduk koji je imao rupicu za prolaz svjetla tako da bi se na drugoj strani ocrtavao oblik prirode koji se nalazio ispred kamere. Ona se smatra prethodnikom fotografskog aparata. Principe današnje projekcije poznavali su još u staroj Kini. Bila je to projekcija sjena na prozirnom platnu koje je bilo okrenuto publici. Prve spoznaje o prolasku svjetlosti kroz prozirne materijale opisao je John Baptist Porta. On je na staklu ucrtao razli čita slova i okretao staklo prema suncu na suprotnoj strani, konkretno na zidu, i dobivao odraze odnosno projekciju slike ucrtane na staklu. To je bila prete ča čarobne svjetiljke ili ''laterne magice''. Njema čki sve ćenik, matemati čar i fizi čar Athanasius Kircher konstruirao je “igra čku” uz čiju je pomo ć no ću projicirao slike na papirnati prozor nasuprotne zgrade. Izvor svjetlosti bila je obi čna svije ća (Miki ć, 2010, str. 1). Kako bi reproducirao jasne slike, Porta je izme đu zrcala i ekrana stavio le ću a nešto kasnije je konstruirao ure đaj kojim je na staklo u čvrstio pokretne objekte, što je u publici izazivalo paniku i strah od 2 njegovih vještina. Nizozemac Christian Huygens
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