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Hfl_39k.qxd 04. 10. 04 15:08 Page 1 Hrvatski filmski u ovom broju: Hrvatski filmski suvremeni japanski film: vrvilo i iwamotto festivali: krelja i ajanovi} o animafestu sever i leni} o pulskom festivalu Zagreb 39/2004 leni} o motovunskom festivalu ilin~i} o po`e{koj jednominutnoj reviji ze~evi} o dje~joj reviji LJETOPIS 39/2004 radovan ivan~evi} (1931-2004): turkovi} o ivan~evi}evim perspektivama bilje{ke ivan~evi}a o animaciji 50-ih ivan~evi}eva filmografija kulturna politika: polim~ev osobni osvrt na distribuciju u hrvatskoj jagec priredio razgovor o nekomercijalnoj kinomre`i tuma~enja: radi} o krvi i mesu markovi} o rock n roll filmovima hribar o ekranizacijama kino i videorepertoar studije i istra`ivanja: matija{evi} o fincherovoj igri von~ina o povijesti zagreba~ke televizije u povodu knjiga: maru{i} o ajanovi}evoj animaciji i realizmu krivak o monografiji autorskog studija ljetopisov ljetopis: jeli}: kronika bibliografija leksikon preminulih ranglista glasanja za oktavijana na danima hrvatskog filma u narednom jubilarnom (40) broju: desetgodi{nji kumulativni indeks ljetopisa tema: filmski blockbusteri bendazzi o alexieffu ajanovi} o don kihoteu vladimira kristla peterli} o H-8 antologija hrvatskog filmskog eseja i dr. CODEN.H7LJ7V UDK 761.43/45 Hrvat.film.ljeto. god. 10. (2004.) br. 39 str.1-226 ISSN 1330-7665 39/2004. CODEN HFLJFV Sadr`aj / Contents SUVREMENI JAPANSKI FILM CONTEMPORARY JAPANESE FILM Gostuju}a urednica: Tanja Vrvilo Guest editor: Tanja Vrvilo Tanja Vrvilo: O SUVREMENOM JAPANSKOM FILMU 3 Tanja Vrvilo: ABOUT CONTEMPORARY JAPANESE FILM 3 Kenji Iwamoto: ESTETIKA JAPANSKOG FILMA 8 Kenji Iwamoto: AESTHETICS OF JAPANESE FILM 8 Kenji Iwamoto: PREDO^AVANJE KULTURE I DRU[TVA U Kenji Iwamoto: REPRESENTATION OF CULTURE AND SOCIETY SUVREMENOM JAPANSKOM FILMU 12 PORTRAYAL IN CONTEMPORARY JAPANESE FILM 12 FESTIVALI FESTIVALS Petar Krelja: ANIMACIJA NA DLANU ZAGREB 2004 15 Petar Krelja: ANIMATED FILM ON A PALM OF YOUR HAND Midhat Ajanovi}: STUDENTSKI FILMOVI ZAGREB 2004 24 ZAGREB 2004 15 Vladimir C. Sever: ALITERACIJE NA P PULA 2004 31 Midhat Ajanovi} Ajan: STUDENT FILMS ZAGREB 2004 24 Elvis Leni}: SUVREMENI SLOVENSKI FILM PULA 2004 37 Vladimir Cvetkovi} Sever: P ALLITERATION PULA 2004 31 Elvis Leni}: 6. MOTOVUNSKI FILMSKI FESTIVAL, 2004 41 Elvis Leni}: CONTEMPORARY SLOVENIAN FILM IN PULA 37 Diana Nenadi}: O FRAGMENTIMA MOZAIKA SPLIT 2004 47 Elvis Leni}: 6TH MOTOVUN FILM FESTIVAL, 2004 41 Dra`en Ilin~i}: ISKORISTI SVAKU MINUTU PO@EGA 2004 54 Diana Nenadi}: ON FRAGMENTS OF A MOSAIC SPLIT 2004 47 Slaven Ze~evi}: MIRIS MORA ZADAR 2004 58 Dra`en Ilin~i}: SEIZE EACH MINUTE! PO@EGA 2004 54 Slaven Ze~evi}: SCENT OF THE SEA ZADAR 2004 58 RADOVAN IVAN^EVI] (1931-2004) RADOVAN IVAN^EVI] (1931-2004) Hrvoje Turkovi}: POJMOVNI FILM 65 Hrvoje Turkovi}: CONCEPTUAL FILM 65 Radovan Ivan~evi}: AVANGARDNI ZAGREBA^KI ANIMIRANI FILM 50-IH BILJE[KE 85 Radovan Ivan~evi}: ZAGREB AVANT-GARDE ANIMATED FILM OF THE 50s 85 FILMOGRAFIJA RADOVANA IVAN^EVI]A 86 RADOVAN IVAN^EVI]S FILMOGRAPHY 86 KULTURNA POLITIKA: DISTRIBUCIJA, PRIKAZIVANJE CULTURAL POLICY: DISTRIBUTION, EXHIBITION Nenad Polimac: NAKUPCI FILMOVA DISTRIBUCIJA Nenad Polimac: FILM DISTRIBUTION IN CROATIA 91 U HRVATSKOJ 91 Tomislav Jagec, ed.: IS THERE A CHANCE FOR A NON-COMMERCIAL Tomislav Jagec, prir.: IMA LI NEKOMERCIJALNA MRE@A [ANSE? 97 CINEMA THEATRE NETWORK? 97 TUMA^ENJA INTERPRETATIONS Damir Radi}: BINARNO NA^ELO I LJUBAVNA MOTIVACIJA (Meso Damir Radi}: BINARY PRINCIPLE AND LOVE MOTIVATION (Flesh + ikrv) 113 Blood) 113 Dejan Markovi}: ROCK N ROLL NA FILMU 118 Dejan D. Markovi}: ROCK & ROLL ON FILM 118 Hrvoje Hribar: EKRANIZACIJA 126 Hrvoje Hribar: FILM ADAPTATION 126 REPERTOAR FILM AND VIDEO REPERTOIRE REVIEWS Uredila: Katarina Mari} Edited by: Katarina Mari} KINOREPERTOAR 129 MOVIE THEATERS 129 VIDEOIZBOR 157 VIDEO AND DVD 157 STUDIJE I ISTRA@IVANJA STUDIES AND RESEARCH @eljka Matija{evi}: STROGO KONTROLIRANO PROSVJETLJENJE @eljka Matija{evi}: STRICTLY CONTROLLED ENLIGHTENMENT (The IGRA DAVIDA FINCHERA 177 Game, D. Fincher) 177 Nikola Von~ina: IZ POVIJESTI HRVATSKE TELEVIZIJE (2) 183 Nikola Von~ina: HISTORY OF CROATIAN TELEVISION (2) 183 U POVODU KNJIGA DISCUSSING BOOKS Jo{ko Maru{i}: KNJIGA ZA SLADOKUSCE ANIMACIJE (M. Ajanovi}: Jo{ko Maru{i}: BOOK FOR ANIMATION GOURMETS (M. Ajanovi}: Animacija i realizam) 187 Animation and Realism) 187 Marijan Krivak: 11 GODINA AUTORSKOG STUDIJA 191 Marijan Krivak: 11 YEARS OF AUCTORIAL STUDIO 191 LJETOPISOV LJETOPIS CHRONICLES CHRONICLE Marcella Jeli}: KRONIKA (svibanj rujan, 2004) 193 Marcella Jeli}: CHRONICLE (May-September 2004) 193 BIBLIOGRAFIJA 199 BIBLIOGRAPHY 199 LEKSIKON PREMINULIH (V. Ber~i}, R. Karabelj, V. Kristl, R. LEXICON OF THE DECEISED (V. Ber~i}, R. Karabej, V. Kristl, R. Kursar) 203 Kursar) 203 O. Milat: OKTAVIJAN KAKO SU GLASALI KRITI^ARI 205 O. Milat: OKTAVIJAN CRITICS VOTES 205 ISPRAVCI 207 CORRECTIONS 207 SA@ECI 208 ABSTRACTS 208 O SURADNICIMA I UREDNICIMA 223 ON CONTRIBUTORS AND EDITORS 223 39/2004. 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. 10. (2004), br. 39 Hrvat.film.ljeto., Vol 10 (2004), No 39 Zagreb, listopad 2004. Zagreb, October 2004 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: Nikica Gili}, Bruno Kragi}, Diana Nenadi}, Ivo [krabalo, Nikica Gili}, Bruno Kragi}, Diana Nenadi}, Ivo [krabalo, Igor Tomljanovi}, Hrvoje Turkovi} (glavni urednik), Igor Tomljanovi}, Hrvoje Turkovi} (chief editor), Katarina Mari} (gostuju}a urednica) Katarina Mari} (guest editor) Likovni urednik: Design: Luka Gusi} Luka Gusi} Lektorica: Language advisor: Sa{a Vagner-Peri} Sa{a Vagner-Peri} Prijevodi na engleski: English translations: Snje`ana Grlju{i}-Kordi} Snje`ana Grlju{i}-Kordi} 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 Subscription abroad: 60 US Dollars, 60 =C Godi{nja pretplata: 150.00 kn Account Number: @iro ra~un: Zagreba~ka banka, 2100058638/070 S.W.I.F.T. ZABA HR 2X br. ra~una: 2360000-1101556872 Editors Adress: Za inozemstvo: 60.00 USD, 60.00 =C Hrvatski filmski ljetopis / Croatian Cinema Chronicle Adresa uredni{tva: Hrvatski filmski savez / Croatian Film Clubs Association 10000 Zagreb, Dalmatinska 12 Dalmatinska 12 tel: 385 01/48 48 771, 385 01/48 48 764 10000 Zagreb, Croatia fax: 385 01/48 48 764 tel: 385 1/48 48 771 E-mail: [email protected] fax: 385 1/48 48 764 hrvoje.turkovic zg.htnet.hr @ E-mail: [email protected] [email protected] hrvoje.turkovic zg.htnet.hr nikica hfs.hr @ @ [email protected] Web stranica: www.hfs.hr [email protected] Hrvatski filmski ljetopis evidentiran je u International Index to Web site: www.hfs.hr Film/TV Periodicals, Rue Defacqz 1, 1000 Bruxelles, Belgium. Hrvatski filmski ljetopis (The Croatian Cinema Chronicle) is Cijena oglasnog prostora: 1/4 str. 5.000,00 kn indexed in the International Index to Film/TV Periodicals, 1/2 str. 10.000,00 kn Rue Defacqz 1, 1000 Bruxelles, Belgium 1 str. 20.000,00 kn Hrvatski filmski ljetopis izlazi uz potporu Ministarstva kulture CCC is subsidized by the Ministry of Culture, Republike Hrvatske i Gradskog ureda za kulturu, Zagreb Republic of Croatia and Zagreb City Office for Culture Fotografija na koricama: Zatoichi samuraj, Takeshi Kitano Cover photo: Takeshi Kitanos Zatoichi Samurai SUVREMENI JAPANSKI FILM UDK: 791(520)199 Tanja Vrvilo O suvremenom japanskom filmu Ovaj uvodni tekst i dva prilago|ena predavanja japanskoga filmologa Kenjija Iwamota o suvremenom japanskom filmu jesu poku{aj pru`anja nekih obavijesti o tematskim i stilsko- retori~kim obilje`jima toga nepreglednog podru~ja u povo- du Ciklusa suvremenog japanskog filma {to su ga ovoga pro- lje}a organizirali Japansko veleposlanstvo i Multimedijalni centar SC-a u Zagrebu i Splitu.1 Poznato je da su tekstovi ja- panskih filmologa rijetko prevo|eni i da nijedna izvorna po- vijest japanskoga filma nije prevedena na engleski jezik. Do- sljedno tome, ni knjige zapadnja~kih filmologa o povijesti ja- panskoga filma nisu prevedene na japanski jezik. O Richije- voj i Andersonovoj knjizi, dugo vremena (do posljednje Ri- chijeve) jedinom {irem povijesnom pregledu japanskoga fil- ma na engleskom jeziku, profesor Iwamoto ka`e: »Ideja je iznimno vrijedna, ali mnogo je toga propu{teno. No, donosi neke nove poglede s gledi{ta zapadnjaka.«2 ^ini se da je u Ja- panu i dalje klju~ni izvor podataka iscrpna petosve{~ana po- vijest Junichira Tanake, koji je jo{ kao student tijekom 1920- ih godina po~eo prikupljati dokumentaciju i razgovarati s pi- onirima japanskoga filma. Ali postoje i brojna druga istra`i- vanja, poput dvodijelne povijesti uglednoga prijeratnog po- vjesni~ara i kriti~ara Tadashija Iijime, koji je od 1950-ih pre- davao na sveu~ili{tu Waseda kao prvi stalni profesor filma u Japanu, a ~iji je student bio i profesor Iwamoto. Kada je Do- nald Richie prije pedesetak godina, o~aran otkrivenim fil- movima, pisao svoj prvi od mnogih uvoda u japanski film, Yasujiro Ozu na snimanju nije dobro poznavao jezik i nije bio u mogu}nosti vidjeti ve}i broj filmova. S tim se osje}ajem i danas, nakon ne{to vi{e (ne)dostupnih knjiga i filmova, mogu poistovjetiti gotovo svi Zapadu nadahnulo je pedesetak godina zaka{njelo otkri}e koji poku{avaju upoznati, ili makar vidjeti, japanski film japanskoga filma, a u Japanu se ve} u razdoblju nijemoga fil- izvan Japana.
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    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
  • Joe Hisaishi's Musical Contributions to Hayao Miyazaki's Animated Worlds

    Joe Hisaishi's Musical Contributions to Hayao Miyazaki's Animated Worlds

    Joe Hisaishi’s musical contributions to Hayao Miyazaki’s Animated Worlds A Division III Project By James Scaramuzzino "1 Hayao Miyazaki, a Japanese film director, producer, writer, and animator, has quickly become known for some of the most iconic animated films of the late twentieth to early twenty first century. His imaginative movies are known for fusing modern elements with traditional Japanese folklore in order to explore questions of change, growth, love, and home. His movies however, would, not be what they are today without the partnership he formed early in his career with Mamoru Fujisawa a music composer who goes by the professional name of Joe Hisaishi. Their partnership formed while Hayao Miyazaki was searching for a composer to score his second animated feature film Nausicaä of the Valley of the Wind (1984). Hi- saishi had an impressive resume having graduated from Kunitachi College of Music, in addition to studying directly under the famous film composer Masaru Sato who is known for the music in Seven Samurai and early Godzilla films. Hisaishi’s second album, titled Information caught the attention of Miyazaki, and Hisaishi was hired to score Nausicaä of the Valley of the Wind (1984). With its huge success consequently every other prom- inent movie of Miyazaki’s since. (Koizumi, Kyoko. 2010) Hisaishi’s minimalistic yet evocative melodies paired with Miyazaki’s creative im- agery and stories proved to be an incredible partnership and many films of theirs have been critically acclaimed, such as Princess Mononoke (1997), which was the first ani- mated film to win Picture of the Year at the Japanese Academy Awards; or Spirited Away (2001), which was the first anime film to win an American Academy Award.
  • Fall/Winter 2018

    Fall/Winter 2018

    FALL/WINTER 2018 Yale Manguel Jackson Fagan Kastan Packing My Library Breakpoint Little History On Color 978-0-300-21933-3 978-0-300-17939-2 of Archeology 978-0-300-17187-7 $23.00 $26.00 978-0-300-22464-1 $28.00 $25.00 Moore Walker Faderman Jacoby Fabulous The Burning House Harvey Milk Why Baseball 978-0-300-20470-4 978-0-300-22398-9 978-0-300-22261-6 Matters $26.00 $30.00 $25.00 978-0-300-22427-6 $26.00 Boyer Dunn Brumwell Dal Pozzo Minds Make A Blueprint Turncoat Pasta for Societies for War 978-0-300-21099-6 Nightingales 978-0-300-22345-3 978-0-300-20353-0 $30.00 978-0-300-23288-2 $30.00 $25.00 $22.50 RECENT GENERAL INTEREST HIGHLIGHTS 1 General Interest COVER: From Desirable Body, page 29. General Interest 1 The Secret World Why is it important for policymakers to understand the history of intelligence? Because of what happens when they don’t! WWI was the first codebreaking war. But both Woodrow Wilson, the best educated president in U.S. history, and British The Secret World prime minister Herbert Asquith understood SIGINT A History of Intelligence (signal intelligence, or codebreaking) far less well than their eighteenth-century predecessors, George Christopher Andrew Washington and some leading British statesmen of the era. Had they learned from past experience, they would have made far fewer mistakes. Asquith only bothered to The first-ever detailed, comprehensive history Author photograph © Justine Stoddart. look at one intercepted telegram. It never occurred to of intelligence, from Moses and Sun Tzu to the A conversation Wilson that the British were breaking his codes.
  • We Present the Catalog of Current Russian Animation-2021

    We Present the Catalog of Current Russian Animation-2021

    RAFA is Russian animated film association. RAFA represents the interests of Russian animation industry and helps to create favorable conditions for effective development of animation in Russia and worldwide. RAFA includes more than 60 companies which are involved in animation: production companies, TV channels, distribution and licensing companies. • If you need to communicate with any Russian studio, organization or animator • If you need assistance in participation in festivals and film markets in Russia • If you need to organize the presentation of your projects to Russian partners • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. TAP HERE CONTENTS RAFA NAVIGATION ALPHABETICAL LIST INDUSTRIAL ANIMATION INDEPENDENT ANIMATION Dear Friends, Russian Animated Film Association presents the 10th anniversary сatalog of Russian Animation. The global pandemic has changed the usual format of many events, so now for the second year we are publishing the catalog in a convenient web format. In the 10 years that have passed since the release of the first catalog, we have come a long way. Since 2012, when RAFA was formed, the number of animation studios in Russia has doubled, and the production of animation has grown more than 5 times. Today RAFA unites more than 60 animation studios from 7 regions of Russia, which animation is adapted into 60 languages and distributed in more than 150 countries of the world. It is gratifying that despite the problems faced by many industries, Russian studios are not only continuing to produce animation but are also increasing its number and quality.
  • Deuxièmes Rencontres Internationales Des Médias Numériques (DRIMN)

    Deuxièmes Rencontres Internationales Des Médias Numériques (DRIMN)

    Deuxièmes Rencontres Internationales des Médias Numériques (DRIMN) France , 25 juin – 13 juillet 2007 32 étudiants et jeunes professionnels du monde entier invités pendant trois semaines 32 foreign students invited to France for three weeks Un parcours technique, artistique et culturel A technical, artistic and cultural journey A la découverte de 3 régions de référence dans les médias numériques : écoles, studios, laboratoires, espaces d’exposition… Discovering 3 regions of excellence for digital media training : training centres, studios, laboratories, and exhibition areas A la rencontre des professionnels, créateurs, experts français Meetings with French professionals, artists and technicians L’accès à un réseau d’écoles spécialisées à travers le monde Accessing a worldwide network of specialised schools Un contact privilégié avec les meilleures écoles françaises Easy access to the best French training centres La création d'un réseau International Creation of an international network 6 étudiants français participent aux rencontres 6 French students will be taking part in the event http://www.diplomatie.gouv.fr Contacts : [email protected] http://www.arte.tv/drimn Tél : +33(0)1 43 17 84 74 h ttp ://www.Audi.fr Tél : +33(0)6 30 35 43 57 Le Ministère des Affaires Etrangères et européennes organise, du 25 au 13 juillet 2007, les Deuxièmes Rencontres Internationales des Médias Numériques (DRIMN). Cet événement offrira à 32 étudiants et jeunes professionnels étrangers et français un parcours de formation en France au cours duquel ils seront à même de rencontrer des artistes, des chercheurs et des techniciens actifs dans les différents secteurs de l’imagerie numérique, linéaire ou interactive, et de suivre un programme de conférences dispensées dans le cadre des meilleures écoles, universités et organismes de formation français.