A znači… Animafest A is for… Animafest

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fotografije Arhiva Animafesta / photographs by Animafest Archive Željko Luketić

Zagreb miriše na svježe ljeto. Bio sam ovdje puno puta i uvijek smells of fresh summer. I have been here many times, u lipnju, na festivalu. Festivalu je sada 30, a meni dvaput više, always in June, at the Festival. The Festival is now 30, and I am no ja volim taj festival poput malog dječaka. Svaki put kada twice as old, but I love the Festival like a little boy. Every time I putujem u Zagreb, uzbuđen sam kao prije susreta s ljubljenom travel to Zagreb, I am excited as if I was meeting a loved one. osobom. Ostaj mi zdravo dragi i živi dugo! Stay well, my dear, and live long! , Moskva (travanj, 2002.) Eduard Nazarov, (April, 2002)

¶ Prisjećajući se zagrebačkog festivalskog krštenja, britanska ¶ Remembering her first Zagreb Festival, British author and autorica i publicistkinja Clare Kitson opisala je prvi Svjetski publicist Clare Kitson, described the first World Festival of Ani- festival animiranog filma, u tadašnjem Domu jna, kao malen, mated held in the then hall of the Officer’s Club of the ekscentričan i pun entuzijazma, dopisavši još i vruće, zagušljivo, Yugoslav People’s Army as small, eccentric and full of enthusi- ali treperavo! Sve ovo i više je nego precizan opis najuglednijeg asm, adding that it was hot, stifling, but pulsating! All this was jugoslavenskog, a kasnije i hrvatskog međunarodnog festivala, more than a precise description of the most famous Yugoslav, kojemu klimatske opaske nisu nimalo naštetile, nego su tek and later Croatian, international festival whose reputation was aludirale na veliko zanimanje i redovito popunjene (i prepu- not damaged by the above climatic observations. Those merely njene) projekcije umjetničkog animiranog filma.¶ Animafest, alluded to the great interest and the often full projections kako ga volimo kasnije imenovati, začet je još u listopadu 1969. (often overbooked) of artistic animated .¶ Animafest, as godine na sastanku Izvršnog odbora asifa-e, Međunarodnog the festival was subsequently named, was founded in 1969 at udruženja animatora, gdje je prihvaćen prijedlog da se u the meeting of the Executive Committee of asifa, the Inter- Zagrebu ustanovi svjetski festival animiranog filma, kao stalna national Association of , when the proposal was manifestacija. Godinu dana kasnije, asifa u Zagrebu donosi accepted for the world festival of animated films to be perma- kalendar događaja koje podržava, najavljujući tako premijerno nently held in Zagreb. A year later, in Zagreb, asifa announced izdanje za ljeto, odnosno lipanj 1972. Ideja, ali i njen brzi prihvat, the calendar of events they will support, announcing in it the

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nisu bili odluka bez pokrića; puno povjerenje jugoslavenskoj first edition of the Zagreb festival to be held that summer, more Svjetski festival Animafest, nacionalnoj sekciji dano je zbog velikih uspjeha već formirane precisely, in June 1972. The idea, as well as the speed with which animiranih plakati filmova, Zagreb,

Zagrebačke škole crtanog filma, usput i Zagreb filmu kao pro- it was adopted, was not unfounded: the trust given to the 1978. Animafest, ducentu, domaćinu i budućem organizatoru. Zanimljivo je i ne Yugoslav national section was the result of a great success of posters sasvim slučajno kako se godina poklopila s vremenom izlaska the already existent Zagreb School of , and Zagreb World animated , knjige kritičara Ronalda Hollowaya Z is for Zagreb. Prvi je to film as the producer, the host and the future organizer of the Zagreb, 1978 sveobuhvatni pregled domaće animacije, knjiga koja je od festival. Interestingly, and surely not accidentally, the book Z... samih početaka tražila i našla svoje posebno mjesto u povijesti ovog filmskog roda, naglašavajući apstrakciju, redukciju i eksperimentalnost. Kitsonova je vjerojatno mislila i na taj sta- tus domaćih autora i njihovih ekscentričnih radova, koji se, na sreću, pravom kreativnom sinergijom preslikao i na sam festi-

val. ¶ U današnjoj teorijskoj percepciji filmskog festivala, ali i Eduard Nazarov i Yitzak Eduard Nazarov and Yitzak Borivoj Dovniković Bordo, Borivoj Dovniković Joško Marušić, Joško Marušić, svojevrsnom receptu izvrsnosti, odlike i osebujnost Animafesta Yoresh, Animafest 1986. Yoresh, Animafest 1986 Animafest 1974. Bordo, Animafest 1974 1980. 1980 čine se kao zlatni standard, no to u svoje vrijeme svakako nisu bile. Pionirski poduhvat organizacije jednog takvog međuna- rodnog okupljanja mogao je lako postati dosadni simpozij na Disneyjevih junaka. Također, tada ništa manje važno, usred is for Zagreb was published in the same year. It was written by kojemu ozbiljni teoretičari čitaju svoje radove, kritičari oštre hladnoratovske geografije, u Zagrebu se elegantno i bez nape- the critic Ronald Holloway, and was the first all-encompassing olovke, a publika dobiva tek puku informaciju. Preslikavajući tosti spajao Istok i Zapad, kao odvojena artistička praksa, ali i review of the domestic animation scene, that sought and found baš tu indikativnu ludost i lucidnost Zagrebačke škole, Svjetski kao svjetonazor. Festival je sve to obogatio opuštenom i pri- its special place in the history of this film genre, emphasizing Karel Zeman i Zlatko Bourek, festival animacije postao je na taj način mjesto susreta nekoliko jateljskom atmosferom, prisnim odnosom organizatora i the abstraction, reduction and experimentalism. Kitson most Animafest 1974. različitih koncepcija, spajajući ih tako u već 42 godine dugu gostiju, koji je 80-tih godina imao vrhunce u već legendarnim likely referred to that status of domestic authors and their tradiciju. ¶ Oduševljenje prvih gostiju Animafesta 1972. bilo je odlascima i izletima u prirodu, na druženje, društvene igre, eccentric works, which was, fortunately, transposed onto the Karel Zeman and ¶ Zlatko Bourek, dvojako: umjetničko opredjeljenje festivala bilo je razvidno, no akcije crtanja ili tek gastro-enološke susrete s lokalnim stanov- festival with the right creative synergy. In the present theo- Animafest 1974 ipak se nalazilo mjesta i za retrospektive komercijalnih, ništvom. Preteča je to, koliko god se danas format promijenio, retical perception of the film festival, as well as a certain recipe

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Osamu Tezuka, Skakanje, , Jumping, 1984, , Bajka nad bajkama, Yuri Norstein, Tale of Tales, 1979, Michael Dudok de Wit, Otac i Michael Dudok de Wit, Father and Koji Jamamura, Glava gora, Koji Jamamura, Mt. Head, 2002, 1984., prizor iz filma scene from the film 1979., prizor iz filma scene from the film kći, 2000., prizor iz filma Daughter, 2000, scene from the film 2002., prizor iz filma scene from the film

Važna osobitost Animafesta The important characteristic of popratne programe te reklamirao Zagreb kao grad kojega valja of the modern understanding of a film festival wherein artistic posjetiti. Nadalje, utjecao je na domaću produkciju i autore koji and social events are of equal importance. It should suffice to svakako je personalizacija festivala Animafest is the personalization su tako, kako i sami znaju reći, bili trajno inficirani umjetničkom have a look at the list of the most successful Croatian festivals, i njegovog vodstva of the Festival and its leaders stranom filma; naposljetku, čak je i u socijalističku Hrvatsku such as Motovun or Festival, to see that Animaf- unio elemente zapadnoga tržišta. Primjerice, gore spomenuta est’s recipe was successfully taken over; only the excursions no Clare Kitson jedno je vrijeme za britanski Channel 4 dobavljala longer include a Samoborček train ride to Samobor for a treat animirane naslove. Valjalo se tada, ali i sada, zaista pojaviti u of cream cakes and slices of pig roasted on spit. Instead Kovač modernog shvaćanja filmskog festivala u kojemu se posve for excellence, the characteristics and the specifity of Animaf- Zagrebu i pokazati svoj film.¶ A što se moglo vidjeti? Lista and Matanić delight the audience with the Barns, and similar izjednačava umjetnički i društveni događaj. Dovoljno je pro- est appear as a golden standard, but they were definitely not filmova koji su dobili Grand Prix indikativna je za procjenu random play events. ¶ Joško Marušić, one of the most impor- motriti listu najuspješnijih hrvatskih festivala, poput Motovuna one at the time. The pioneering endeavor of organizing such općeg ukusa Animafesta i njegove sposobnosti da locira nova tant names from Animafest history, included the aforemen- ili Zagreb Film Festivala i vidjeti da je Animafestov recept an international event could easily have become a boring sym- animacijska središta, postupke i trendove. Također, nije bilo tioned social category in his report from 2002, later published uspješno prenesen, jedino što se više ne ide Samoborčekom na posium for grave theoreticians to read their papers, for critics neuobičajeno da strogi ocjenjivački sud donese odluku kako in the publication titled Z... is for Zagreb which its author, Mar- kremšnite i pajceka, nego Kovač i Matanić publiku razveselja- to sharpen their pens, and for the audience to merely receive glavne nagrade nema, što bi na standardnijem festivalu bilo git Antauer Buba, referred to as the Memory Handbook. vaju Štalama i sličnim random play događanjima. ¶ Joško Maru- dry information. Reflecting this indicative folly and lucidity of ravno skandalu. Ipak, u Zagrebu se čak dvaput, 1982. i 1986. Marušić divided his report in six chapters, each related to the šić, jedno od najvažnijih imena iz povijesti Animafesta, smjestio the Zagreb School, the World Festival of Animated Film has godine, odlučilo kako najboljeg jednostavno nema. Prije toga, whole. It is almost a sketched guide for the organization of a je prethodnu društvenu kategoriju u svoj izvještaj 2002. become a place of several differing concepts joined already in upravo zahvaljujući ovoj manifestaciji, u oko animacijske scene film festival. Those instructions have been followed by the godine, kasnije objavljen u publikaciji Z znači Zagreb, koju je a 42-year-long tradition. ¶ The first guests at the Animafest in upali su, između ostalih, Aleksandar Petrov, Ivan Ivanov-Vano organizers from the Officer’s Club days, through the days of autorica Margit Antauer Buba nazvala i Priručnik za sjećanje. 1972 were doubly thrilled–the artistic approach of the festival i Jurij Norštejn iz tadašnjeg Sovjetskog Saveza, Japanci Osamu the Lisinski Concert Hall, until the present day when the Fes- Marušić tako svoj izvještaj strukturira u šest točaka, od kojih was obvious, and yet there was still enough time for the ret- Tezuka i Kōji Yamamura, Estonac Priit Pärn, Britanci Joanna tival is held in the Cinema Europa. A film festival thus consists je svaka zasebno, odnosno svaka u odnosu s cjelinom, gotovo rospectives of commercial films, with Disney heroes. Addition- Woodward i i Nizozemac Michaël Dudok de Wit. of: 1) the estimation of the value of production in a certain time pa iscrtani vodič za organizaciju filmskog festivala, uputstvo ally, and not the least important, at the height of the Cold War, ¶ Što se tiče podrške i priznanja domaćoj sceni, Animafest je tu period, 2) additional programs, 3) promotional effects of the kojeg se animacijski festivalci drže još od Doma jna, preko the East and the West–their separate artistic practices and odigrao izuzetnu ulogu. Čak i smještanjem u popratne pro- festival, 4) influence on our animation and the media, 5) the dvorane Lisinski, pa sve do kina Europa. Filmski festival zato their worldviews–came together elegantly and without ten- grame ili na početku kada se inzistiralo da filmovi organizatora festival as a social event, and 6) business matters, presently čine: 1. procjena vrijednosti produkcije u određenom razdoblju, sion in Zagreb. All this was enriched by the festival with a budu izvan konkurencije, festival je okupljenima dao priliku da referred to as the market segment. ¶ Measured against all 2. popratni programi, 3. promidžbeni efekti festivala, 4. utjecaj relaxed and friendly atmosphere, with the close relations vide što se to sa i oko Zagrebačke škole zbiva. Opustivši kasnije benchmarks the World Festival of Animated Film in Zagreb has na našu animaciju i medije, 5. festival kao društveni događaj i between the organizers and their guests. In the 1980s it culmi- pravila i omogućivši i domaćima da se natječu za Grand Prix, rated highly from the very beginnings–a film deserving an 6. poslovni dio, koji danas još nazivamo i market segment. nated in the already legendary excursions to the country, in the Animafest je već 1974. najveću nagradu dao Dnevniku Nedeljka award has always had to meet high standards, the festival has ¶ Svjetski festival animacije u Zagrebu od prvog je izdanja socializing, playing of board games, and drawing, or, ultimately, Dragića, kojega je 1978. slijedila sjajna Satiemania Zdenka always offered interesting additional programs, it promoted dobro kotirao prema svim mjernim točkama: vrlo je oštro odre- in the gastro-enological getting together with the local popu- Gašparovića. Iste godine drugu nagradu dobiva Joško Marušić Zagreb as a place worth a visit, it influenced domestic produc- đivao što zavređuje nagradu, a što ne, nudio je zanimljive lation. While the format may have changed, it was a forerunner i njegov Perpetuo, a među priznanjima su i Sportski život Zlatka tion and authors who were, to quote them, infected with the

198 oris, broj 87, godina 2014 oris, number 87, year 2014 ANIMAFEST ZAGREB, Svjetski festival animiranog filma ANIMAFEST ZAGREB, World Festival of Animated Film 199 artistic side of film, and finally, brought the elements of the western market even into the socialist . For example, the abovementioned Clare Kitson used to select animated films for Channel 4 for some time. It was important then, as it is today, to mingle around Zagreb, and present your film.¶ And what was presented? The list of films that won the Grand Prix is an indication of the general taste of Animafest, and its ability to locate new animation centers, procedures and tendencies. Also, it was not unusual for the strict award committee to decide not to award the main prize, which would be scandalous at standard film festivals. Nevertheless, it happened twice in Zagreb. Namely, in 1982 and in 1986, the decision was made that there simply was no best film. Before that, thanks to this manifestation, the animation scene was entered by, among others, Aleksandar Petrov, Ivan Ivanov-Vano and Yuri Norstein from the former , Osamu Tezuka and Kōji Yama- mura fro , Priit Pärn from , Joanna Woodward and Nick Park from Britain, and Michaël Dudok de Wit from the . ¶ Animafest has had a decisive role in the support

Nedeljko Dragić, and the acknowledgment of the domestic artists, as well. Even Dnevnik, 1974., when allocated to additional programs, or in the beginning, prizor iz filma when domestic films were out of competition, the festival gave

Nedeljko Dragić, the audience the opportunity to see what was happening in The Diary, 1974., the Zagreb School. Later, the rules were loosened, so that eve- scene from the film rybody was considered for the Grand Prix. Therefore Animafest awarded it to Nedjeljko Dragić’s Dnevnik (The Diary) in 1974, followed by the wonderful Satiemania by Zdenko Gašparović Joško Marušić, in 1978. Joško Marušić and his Perpetuo won the second prize Riblje oko, 1980., prizor iz filma in the same year, and acknowledgements were given to Sport- ski život (Sports Life) by Zlatko Grgić and Škola hodanja (Learn- Joško Marušić, ing to Walk) by Borivoj Dovniković. Marušić was awarded again Fisheye, 1980., scene from the film in 1980 for his film Riblje oko (Fisheye); the award in the cat- egory of films longer than 5 minutes was given to the excellent

Grgića i Škola hodanja Borivoja Dovnikovića. Marušić 1980. Posljednji sunčev zrak (The Last Sunray) by Nikola Majdak. The putem javnih nastupa njegovih organizatora ili pak objavama the organizers, or when publishing personal correspondences Zdenko Gašparović, biva nagrađen i za Riblje oko, kada nagradu u kategoriji filmova category of the multi-awarded domestic film makers was vlastitih korespodencija s poznatim svjetskim filmašima. Stje- with famous world film makers. The impression is that the fes- Satiamania, 1978., prizor iz filma dužih od 5 minuta zasluženo odnosi Posljednji sunčev zrak entered by Dragić in 1982 when his film Put k susjedu (To the cao se dojam da je ovaj festival osoba: osoba koja prima tival is a person–one receiving congratulations, writing tele-

Nikole Majdaka. Dragić u kategoriju višekratno nagrađenih Neighbor) triumphed. After that, the Festival awarded, among čestitke, piše telegrame i zove upomoć kada joj je teško. Ne grams, asking for help when necessary. Irrespective of the Zdenko Gašparović, domaćih filmaša ulazi 1982., kada trijumfira njegov Put k others, films by Pavao Štalter, Krešimir Zimonić and Stiv Šinik. ulazeći u iskrenost te intimnosti sa samom animatorskom sce- sincerity of this intimacy with the animation scene (although Satiamania, 1978, scene from the film susjedu. U nadolazećim izdanjima festivala nagrađeni su, među ¶ The important characteristic of Animafest, which did not nom (iako su zaista najprije nastajali privatni prijateljski odnosi), private friendly relations did form first), we may say that this ostalima, i filmovi Pavla Štaltera, Krešimira Zimonića i Stiva make it in the famous recipe for success, but may be added as mora se reći kako je ovaj marketinški potez, naravno, pored marketing move ensured Animafest its popularity, naturally, in Šinika. ¶ Važna osobitost Animafesta koja nije ušla u onaj zna- a pinch of spice at the end, is certainly the personalization of dobrog programa, Animafestu osigurao iznimnu popularnost. addition to good programming. ¶ The transition or, more pre- koviti recept za uspjeh, ali je se može dodati kao malo začina the Festival and its leaders. It has always been known who the ¶ Tranzicija ili bolje reći smjena organizacijskih generacija prošla cisely, a shift of generations organizing the Festival, was pain- na kraju, svakako je personalizacija festivala i njegovog vodstva. organizers were, why they embarked on this endeavor, and how je, ulaskom Hulahopa 2007. godine, bezbolno; no prije toga, less in 2007, when Hulahop began, but prior to that the Festival Uvijek se znalo tko ga radi, zašto ga radi i na koji način ga radi. they plan to pull if off. The nameless manifestation entity has festival su obilježili ljudi poput Želimira Matka, Borivoja Dov- was marked by such grand names as Želimir Matko, Borivoj Izbjegavao se bezimeni manifestacijski entitet, što se, primje- been avoided, which turned for the worse at some national nikovića, Dušana Vukotića, Joška Marušića, Margit Antauer i Dovniković, Dušan Vukotić, Joško Marušić, Margit Antauer and rice, nekim nacionalnim festivalima u Hrvatskoj obilo o glavu. festivals in Croatia. Animafest has always gladly emphasized mnogih drugih koji čine mehanizam manifestacije potpunim, many others who ran the mechanism of the manifestation, Animafest je tu svoju personu i prisnost rado isticao, bilo this persona and intimacy, whether in public appearances of od službe za odnose s javnošću pa sve do volontera. from the press services to the volunteers.

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