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PROSTOR POSEBNI OTISAK/ 238-253 Znanstveni Prilozi Ivan Mlinar Sandra Smiljaniæ

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PROSTOR POSEBNI OTISAK/ 238-253 Znanstveni Prilozi Ivan Mlinar Sandra Smiljaniæ PROSTOR 24 [2016] 2 [52] ZNANSTVENI ÈASOPIS ZA ARHITEKTURU I URBANIZAM A SCHOLARLY JOURNAL OF ARCHITECTURE AND URBAN PLANNING SVEUÈILIŠTE POSEBNI OTISAK / SEPARAT OFFPRINT U ZAGREBU, ARHITEKTONSKI FAKULTET Znanstveni prilozi Scientific Papers UNIVERSITY OF ZAGREB, FACULTY 238-253 Sandra Smiljaniæ Uloga grada The Role of the City OF ARCHITECTURE Ivan Mlinar u znanstvenofantastiènim in Science Fiction filmovima Movies ISSN 1330-0652 CODEN PORREV Pregledni znanstveni èlanak Subject Review UDK | UDC 71/72 UDK 711.433:791.43”19/20” UDC 711.433:791.43”19/20” 24 [2016] 2 [52] 131-308 7-12 [2016] 238 Sl. 1. Dominantna obilježja gradova u znanstvenofantastiènim filmovima: 1 - Metropolis - Mega City One, Dredd (2012.) 2 - Grad-stroj - Space Station V, 2001: A Space Odyssey (1968.) 3 - Degenerativni grad - Los Angeles 2019., Blade Runner (1982.) 4 - Regresivni grad - Snowpiercer (2013.) 5 - Virtualni prostor - The Matrix (1999.) Fig. 1 Predominant features of cities in sci-fi movies: 1 - Metropolis - Mega City One, Dredd (2012) 2 - City-machine - Space Station V, 2001: A Space Odyssey (1968) 3 - Degenerative city - Los Angeles 2019, Blade Runner (1982) 4 - Regressive city - Snowpiercer (2013) 5 - Virtual space - The Matrix (1999) 1 2 3 4 5 PROSTOR Znanstveni prilozi | Scientific Papers 24[2016] 2[52] 239 Sandra Smiljaniæ, Ivan Mlinar Sveuèilište u Zagrebu University of Zagreb Arhitektonski fakultet Faculty of Architecture HR - 10000 Zagreb, Kaèiæeva 26 HR - 10000 Zagreb, Kaèiæeva 26 [email protected] [email protected] [email protected] [email protected] Pregledni znanstveni èlanak Subject Review UDK 711.433:791.43”19/20” UDC 711.433:791.43”19/20” Tehnièke znanosti / Arhitektura i urbanizam Technical Sciences / Architecture and Urban Planning 2.01.02. - Urbanizam i prostorno planiranje 2.01.02. - Urban and Physical Planning Èlanak primljen / prihvaæen: 20. 10. 2015. / 8. 12. 2016. Article Received / Accepted: 20. 10. 2015. / 8. 12. 2016. Uloga grada u znanstvenofantastiènim filmovima The Role of the City in Science Fiction Movies film movie grad city vizije gradova visions of cities znanstvena fantastika science fiction znanstvenofantastièni filmovi science fiction movies U radu se prezentiraju i propituju tehnološke, kulturološke, sociološke, filo- This paper explores the technological, cultural, sociological, philosophical and zofske i psihološke znaèajke ljudskog staništa kroz analizu gradova kao psychological features of a human habitat through an analysis of cities as key kljuènih protagonista narativa znanstvenofantastiènih filmova. Gradovi se u science fiction movie protagonists. Cities in this genre fall into several catego- tom žanru mogu podijeliti po svojim dominantnim obilježjima na metropolise, ries depending on their predominant characteristics: the metropolis, degene- degenerativne gradove, regresivne gradove, gradove-strojeve i virtualni pro- rative city, regressive city, city-machine and virtual space. Sci-fi movies are a stor. Znanstvenofantastièni filmovi vrijedan su izvor razumijevanja, kritike i valuable source of understanding, criticism and inspiration for contemporary inspiracije suvremenoga društva i grada. society and the city. PROSTOR 240 2[52] 24[2016] 238-253 S. SMILJANIÆ, I. MLINAR Uloga grada u znanstvenofantastiènim filmovima Znanstveni prilozi | Scientific Papers UVOD broda kroz prvi kadar, konzultiranjem znan- stvenika i na predcima postignutim u podruè- INTRODUCTION ju specijalnih efekata. U ovom su èlanku analizirani znanstveno- fantastièni filmovi pretežito nove generacije, snimljeni nakon 1968., u kojima je sveobu- hvatna vizija svijeta, prostora i vremena koji nastanjuju sastavni dio atmosfere i radnje filma.6 Ta vizija nije nužno uspješna nado- gradnja suvremenoga svijeta, ali je uvijek po- zornosti vrijedna kritika društva, prostora i vremena, pa tako i suvremenoga grada. U službi narativa znanstvenofantastiènih filmo- va gradovi buduænosti postaju staništa i odraz današnje vizije distopijskog odnosno utopijskog društva. Kultni su znanstvenofantastièni filmovi neo- djeljivi od okruženja u kojima se odvija rad- nja pa je tako vizija kišnoga i vertikalnoga Los Angelesa 2019. sinonimna s Blade Runne- rom, Gigerov7 biomehanièki svijet s Alienom itd. Iako je radnja znanstvenofantastiènih fil- mova smještena u buduænosti, za snimanje se uz imaginarne gradove nerijetko koriste i postojeæi gradovi i graðevine, na koje je za- tim nadograðena futuristièka estetika8 uko- rijenjena u prepoznatljivom, èineæi je tako vjerodostojnijom u oèima publike. Grad u znanstvenofantastiènim filmovima èesto je nanstvena fantastika je žanr koji su mnogi Z simptomatièan za moralno stanje dru štva, a pokušali definirati, ali nakon rasprava, uklju- èujuæi i onih na kojima je postavljeno pitanje jedna je od njegovih uloga brzo i jasno vizual- je li to uopæe žanr ili jednostavno setting na- no determiniranje politièkog i klasnog susta- rativa, konaèna definicija ne postoji.1 Upravo va svijeta koji prikazuje uporabom prepo- njegova širina i sposobnost da apsorbira u znatljivih i opæeprihvaæenih simbola. sebe sve ostale žanrove dovela je do brojnih 2 potkategorija , pa i èinjenice da je to jedan od 1 Suvremeni je znanstvenofantastièni film radi stvara- najdugovjeènijih žanrova.3 nja profita orijentiran prema široj filmskoj publici pa se stoga izbjegavaju precizna žanrovska odreðenja pri ogla- Znanstvenofanta stièni film postao je popula- šavanju. „...Znanstvenofantastièan film zapravo ne pripa- ran 1950-ih zbog amerièkih napora da poša- da istoj instituciji kao i znanstvenofantastièna književ- lju prvog èovjeka na Mjesec, a pravi prodor u nost.” [Giliæ, 2007: 79-82] 2 Primjerice - znanstvenofantastièni horror (Alien), ko- popularnu kul turu dosegnut je krajem 1970-ih medija (Dark Star, The Sleeper), film noir (Blade Runner, filmovima poput Close Encounters of the The Terminator, Dark City), akcijski filmovi (Mad Max, Third Kind (1977.), Star Wars4 (1977.) i Alien Planet of the Apes, 12 Monkeys, I Am Legend), distopijski (1979.). filmovi (A Clockwork Orange, Children of Men, Equili- brium) itd. Poveznica veæine znanstvenofantastiènih fil- 3 Giliæ, 2007: 81 mova jesu vizionarski tehnološki napredci i 4 Lucasov Star Wars danas je poznat pod nazivom Star njihove sveobuhvatne kulturološke, socio- Wars IV: The New Hope (1977.) i prvi je dobitnik Oscara za loške, filozofske i psihološke po sljedice kroz najbolje vizualne efekte nakon ponovnog uvoðenja ove kategorije 1977. koje se preispituju etiènost i empatija kao srž 5 Uporaba CGI-a (computer-generated imagery / kom- ljudskog biæa. Ovaj je žanr oduvijek vezan za pjutorski generirane slike), VFX-a (vizualni efekti), zelenog napredak tehnologije5 i kontroverznost njezi- platna, matte painting itd. [Binns, Corey, 2008.] na udjela u snimanju i postprodukciji filmova. 6 Istraživanje je dio znanstvenog projekta Heritage Ur- Shodno tome, re datelji zauzimaju razlièita banism - Urban and Spatial Planning Models for Revival stajališta, a time i pristupe snimanju filmova and Enhancement of Cultural Heritage [HRZZ-2032] koji se provodi na Arhitektonskom fakultetu Sveuèilišta u Zagre- kroz korištenje maketa, modela, zelenog bu pod vodstvom akademika Mladena Obada Šæitarocija, platna itd. Odlièan prijam filma 2001: A Space a financira ga Hrvatska zaklada za znanost. Odyssey (1968.) kod publike svrstao ga je 7 Hans Rudolf Giger (1940.-2014.) bio je švicarski nad- meðu blockbustere i oznaèio prekretnicu za realist. Studirao je arhitekturu i industrijski dizajn u Zü- žanr, te omoguæio novu generaciju znanstve- richu. Alejandro Jodorowsky zaslužan je za Gigerov proboj u podruèje filmske umjetnosti. Angažirao ga je na svojemu no fantastiènih filmova obilježenih uporabom nikad snimljenom projektu Dune (po romanu Franka Her- klasiène glazbe, nadlijetanjem svemirskog berta). Gigera je zatim za oblikovanje izvanzemaljca u filmu PROSTOR Znanstveni prilozi | Scientific Papers Uloga grada u znanstvenofantastiènim filmovima S. SMILJANIÆ, I. MLINAR 238-253 24[2016] 2[52] 241 GRAD U ZNANSTVENOFANTASTIÈNIM FILMOVIMA CITY IN SCI-FI MOVIES Louis Lumire9 shvatio je da je èovjekova znatiželja usmjerena prema odrazu stvarno- sti, odnosno prema njenoj slici.10 Tehnike osvjetljenja, moguænost krupnog plana, mon- taža prostora, ali i vremena, te objektivnost kojom kamera ‘gleda’ grad, na naèin na koji mi ne možemo - pomažu nam vidjeti grad na potpuno nov naèin. „Sve je ovo sažeto u Be- njaminovom pojmu kamere kao sprave koja 11 otvara optièko nesvjesno.” Odnos snimlje- 1 2 nog filma sa stvarnošæu kompleksan je i za- nimljiv u tome što èesto prezentira nama po- Sl. 2. Utjecaj znanstvenofantastiènih filmova znato kroz velièanje i uzdizanje stvarnoga. redni protagonisti, pridajemo im znaèenje koje dotad za nas nisu imali. Dakle, radi se o na arhitekturu: Kao što Morin napominje12, film veæ sadrži i 1 - Death Star, Star Wars: Episode VI prošlost i sadašnjost, njegova je temporal- obostranom utjecaju koji osim vizualne ko- - Return of the Jedi (1984.) nost izmišljena procesom montaže. Skok u relacije snažno rezonira socijalnu tematiku. 2 - RAK konvencijski i izložbeni centar, OMA, 2007. Impresivna vizija i prikaz Grada buduænosti15 Fig. 2 Influence of sci-fi movies on architecture: buduænost lak je korak za publiku kojoj u filmskom klasiku Fritza Langa Metropolis 1 - Death Star, Star Wars: Episode VI objektiv kamere i sadašnjost èini drukèijom, (1927.) inspirirana je 1920-ih neboderima i - Return of the Jedi (1984) tuðom i zanimljivijom. 2 - RAK convention and exhibition center, OMA, 2007
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