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Il Mestiere Del Cinema Nei Balcani

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Il Mestiere Del Cinema Nei Balcani IL MESTIERE DEL CINEMA NEI BALCANI Storia di unʼindustria e dei suoi protagonisti dagli anni settanta ad oggi A ventʼanni dalla fine della guerra fredda, il cinema offre una prospettiva originale per lʼapprofondimento delle trasformazioni politico-sociali, economiche e culturali nellʼEuropa sud-orientale. a cura di Luisa Chiodi e Irene Dioli Narrando le storie degli abitanti del microcosmo cinematografico Osservatorio Balcani e Caucaso balcanico, il volume analizza il segmento culturale che più di tutti ha plasmato lʼimmaginario collettivo delle società della regione, dallʼapogeo degli anni settanta fino ai processi di globalizzazione degli ultimi anni. Il mestiere del cinema nei Balcani racconta lʼindustria del film in Albania, Bulgaria, Bosnia Erzegovina, Croazia e Serbia, la sua storia di strumento della propaganda di regimi comunisti, la crisi catastrofica degli anni novanta e il suo rapporto con il mercato globale del ventunesimo secolo. Approfondendo la conoscenza della «grande storia» attraverso quella delle persone che lʼhanno vissuta, i saggi contenuti nel volume mostrano come, ancora oggi, il cinema costituisca un settore di eccellenza, in grado di contrastare la marginalizzazione culturale e politica dei Balcani negli ultimi decenni. IL MESTIERE DEL CINEMA NEI BALCANI OB_libroCINEMA_int_finale 24-06-2009 15:20 Pagina 1 www.osservatoriobalcani.org IL MESTIERE DEL CINEMA NEI BALCANI Storia di unʼindustria e dei suoi protagonisti dagli anni settanta ad oggi a cura di Luisa Chiodi e Irene Dioli Osservatorio Balcani e Caucaso Provincia autonoma di Trento IL MESTIERE DEL CINEMA NEI BALCANI Storia di unʼindustria e dei suoi protagonisti dagli anni settanta ad oggi A CURA DI Luisa Chiodi e Irene Dioli © Osservatorio Balcani e Caucaso, 2009 Prima edizione in italiano: Archivio Trentino 2/2008 - Rivista di studi sullʼetà moderna e contemporanea del Museo Storico in Trento (allʼinterno di) Prima edizione in albanese: Përpjekja - E përtremuajshme kulturore, vol. XIII, n. 25 Tiranë, vjeshtë 2008 (allʼinterno di) Seconda edizione: Osservatorio Balcani e Caucaso, 2009 COORDINAMENTO REDAZIONALE Marco Vender PROGETTO GRAFICO Roberta Bertoldi FOTO Andrea Pandini IN COPERTINA Esterno del Kinostudio di Tirana IMPAGINAZIONE E STAMPA Publistampa Arti grafiche, giugno 2009 Carta riciclata Cyclus offset: 100% macero da raccolta differenziata, sbiancata senza cloro Indice Introduzione Luisa Chiodi .................................................................................................................. 9 Kinoslavia: il microcosmo cinematografico da Tito alla globalizzazione. Analisi comparativa dellʼindustria del film nei paesi (ex) jugoslavi Irene Dioli .................. 15 Il cinema jugoslavo sotto il regime comunista: dagli anni settanta al 1989 ............................................................................................................ 17 La crisi del cinema tra il mercato e le guerre: gli anni novanta ........ 23 Una nuova dimensione internazionale: il (brevissimo) XXI secolo ...... 30 E adesso, da che parte andare?: lʼindustria cinematografica bulgara attraverso le parole dei suoi protagonisti Francesco Martino .......................................................................... 37 Il crollo del regime e la crisi dellʼindustria cinematografica .................... 46 Il nuovo millennio: alla ricerca di un futuro possibile .................................... 50 Storia della cinematografia albanese tra autocensura e nostalgia Eldon Gjikaj e Artan Puto .................................... 61 Ideologizzazione e massificazione del cinema .................................................... 61 Censura, autocensura e grottesco ...................................................................................... 64 Il grande cambiamento dopo il 1990: il presente e la nostalgia del futuro ...................................................................................... 73 Le Cinecittà dei Balcani ................................................................................................................ 83 Filmografia ........................................................................................................................................................ 93 Bibliografia e sitografia ............................................................................................................................ 103 Indice analitico ............................................................................................................................................ 113 7 Introduzione Luisa Chiodi Il cinema rappresenta una delle eccezioni alla marginalizzazione culturale e politica dei Balcani negli ultimi anni e costituisce uno dei pochi ambiti con cui la regione ottiene riconoscimenti allʼestero1. Partendo da questa constatazione lʼOsservatorio Balcani e Caucaso (OBC) ha condotto uno studio comparato sul cinema di cinque paesi della regione: Albania, Bulgaria, Bosnia Erzegovina, Croazia e Serbia. Grazie ad un co-finanziamento della Fondazione Cassa di Risparmio di Trento e Rovereto e della Provincia autonoma di Trento, unʼéquipe di giovani ricercatori esperti dʼarea ha realizzato cinquanta interviste semi-strutturate in lingua tra i protagonisti di questo settore economico, allo scopo di approfondire la storia del- lʼindustria culturale che più di tutte ha contribuito a plasmare lʼim- maginario delle società in esame. Le interviste in profondità sono state raccolte in lingua originale nel corso del 2007. Sono state sbobinate, tradotte in lingua italiana e pub- blicate in versione parziale sul sito dellʼOsservatorio (<www.osserva- toriobalcani.org/storiedicinema>). Gli intervistati appartengono a ge- nerazioni artistiche differenti e sono stati scelti in modo da coprire sia settori professionali che cinematografici diversi (lungometraggio, docu- mentario, film di animazione). La ricerca ha riguardato la trasformazione dellʼindustria cinemato- grafica dagli anni settanta ad oggi e lʼesperienza delle persone che vi lavoravano (registi, sceneggiatori, attori, tecnici, produttori, rappre- sentanti dellʼamministrazione dello stato addetti al settore etc.), ap- profondendo la conoscenza della «grande storia» attraverso quella degli individui che lʼhanno vissuta. Lʼobiettivo era quello di approfondire «unʼaltra storia europea», altra perché europeo-orientale e perché storia sociale e culturale. La sto- riografia europea si concentra, infatti, sullʼesperienza occidentale mentre trascura, quando non misconosce, le trasformazioni che 1 Si segnalano tra i più prestigiosi: la Palma dʼoro a Cannes 1995 di Underground e il Leone dʼargento a Venezia 1998 per Gatto nero gatto bianco di Emir Kusturica; lʼOrso dʼoro a Ber- lino 2006 a Jasmila Žbanic´perIl segreto di Esma; lʼOscar come miglior film straniero 2002 per No Manʼs Land di Danis Tanovic´. 9 Luisa Chiodi hanno interessato le altre parti (PASSERINI 2003). Dʼaltro canto, gli studi storici prodotti nei Balcani sono in modo preponderante dedi- cati allʼepopea dello stato-nazione e solo da poco tempo muovono i primi passi in altre direzioni (LAUDIERO 2004). Lʼanalisi della storia del cinema nei Balcani attraverso le voci dei suoi protagonisti ha fornito una prospettiva particolare per comprendere i mutamenti storico-politici attraversati dai paesi della regione. Chi lavorava per lʼindustria cinematografica ha vissuto grandi disconti- nuità storiche, notoriamente produttrici di memorie individuali. Lʼana- lisi delle interviste, integrata con lʼesame di altre fonti primarie e se- condarie, ha consentito dunque di far emergere tanto narrazioni individuali, quanto informazioni specifiche sullʼindustria in esame (JEDLOWSKI 2000). Innanzitutto, la ricerca ha indagato sulle storie personali dei profes- sionisti del cinema: la loro formazione, le motivazioni a lavorare nel settore, le modalità di svolgimento del lavoro, la censura, lʼautocen- sura etc. È emerso chiaramente che i regimi comunisti si fecero ca- rico di promuovere il cinema nei Balcani per educare le masse e, tut- tavia, per gli intervistati lavorare nel cinema significava anche essere impegnati in un settore «di punta», frutto del progresso tanto caro ai regimi stessi. Abbiamo ragionato dunque su quanto le narrazioni dei protagonisti del cinema balcanico riflettano una certa nostalgia del comunismo (BOYM 2003). In secondo luogo, lo studio ha affrontato la trasformazione dellʼindu- stria del cinema con lʼidea di studiare la storia di una professione e del suo settore produttivo in chiave comparata e analizzare quali aspetti siano più significativi per comprendere il percorso di questa in- dustria culturale. Le storie politiche dei paesi balcanici hanno un ruolo importante nella nascita delle industrie cinematografiche. Lʼintervento pubblico di re- gimi autoritari e modernizzatori ha consentito, infatti, di investire no- tevoli risorse in un settore strategico per la propaganda. Lʼindustria cinematografica ha ricevuto un forte impulso da parte di regimi au- toritari che intendevano educare le masse ai valori cui si ispiravano (la rivoluzione, il comunismo, la nazione, il progresso etc.). Analogamente, la dimensione internazionale ha influenzato pro- fondamente la crescita del cinema nei Balcani: i legami internazio- nali e in particolare lʼinfluenza della scuola sovietica sono stati, 10 Luisa Chiodi come è noto, alquanto significativi nella crescita della cinemato- grafia balcanica. Gli anni settanta, caratterizzati dalla distensione tra superpotenze, hanno visto lʼintensificarsi delle relazioni
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