Suvremeni Hrvatski Igrani Film: Kvalitativna Analiza Tematskih Struktura Pobjedničkih Filmova Pulskog Filmskog Festivala (1991

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Suvremeni Hrvatski Igrani Film: Kvalitativna Analiza Tematskih Struktura Pobjedničkih Filmova Pulskog Filmskog Festivala (1991 Suvremeni hrvatski igrani film: kvalitativna analiza tematskih struktura pobjedničkih filmova Pulskog filmskog festivala (1991. - 2016.) Beluhan, Matej Master's thesis / Diplomski rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, Department of Croatian Studies / Sveučilište u Zagrebu, Hrvatski studiji Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:111:257700 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-25 Repository / Repozitorij: Repository of University of Zagreb, Centre for Croatian Studies SVEUĈILIŠTE U ZAGREBU HRVATSKI STUDIJI Matej Beluhan SUVREMENI HRVATSKI IGRANI FILM: KVALITATIVNA ANALIZA TEMATSKIH STRUKTURA POBJEDNIČKIH FILMOVA PULSKOG FILMSKOG FESTIVALA (1991.-2016.) DIPLOMSKI RAD Zagreb, 2017. SVEUĈILIŠTE U ZAGREBU HRVATSKI STUDIJI ODSJEK ZA KOMUNIKOLOGIJU MATEJ BELUHAN SUVREMENI HRVATSKI IGRANI FILM: KVALITATIVNA ANALIZA TEMATSKIH STRUKTURA POBJEDNIČKIH FILMOVA PULSKOG FILMSKOG FESTIVALA (1991.-2016.) DIPLOMSKI RAD Mentor: prof. dr. sc. Danijel Labaš Sumentorica: Ţeljka Biondić Zagreb, 2017. Sažetak Razdoblje hrvatske filmske umjetnosti nakon napuštanja jugoslavenskog politiĉkog, društvenog i kulturnog konteksta 1991. godine i redefiniranja kinematografskog sustava s pravom se moţe nazvati suvremenim hrvatskim filmom. Cilj je ovog rada analizirati tematske strukture suvremenog hrvatskog dugometraţnog igranog filma i rezultate interpretirati unutar društvenog i politiĉkog konteksta u kojem su analizirana djela snimljena. Dakle, istraţiti koje su glavne tematske preokupacije domaćih filmskih autora, koja ţivotna podruĉja autori obraĊuju u podtemama i pratećim temama te na koje se tematske motive oslanjaju kako bi obogatili filmsku priĉu. Kvalitativna metoda utemeljene teorije pruţila je dubinski uvid u predmet istraţivanja, a pravac simboliĉkog interakcionizma omogućio je interpretativni pristup rezultatima analize. Ovakav kulturološki i znanstveni pristup suvremenom hrvatskom igranom filmu pruţa uvid u još uvijek nedovoljno istraţeno razdoblje domaće kinematografije te postavlja okvire za dublje razumijevanje suvremene hrvatske audiovizualne kulture. Istraţivanjem su obuhvaćene tematike obraĊene u 39 filmova koji su u razdoblju od 1991. do 2016. osvojili nagrade Velika zlatna arena za najbolji film i/ili Zlatna vrata Pule na najvaţnijoj godišnjoj smotri domaćeg audiovizualnog stvaralaštva – Pulskog filmskog festivala. Analiza pokazuje kako su prevladavajuće tematsko podruĉje egzistencijalne krize i propitkivanja identiteta u kontekstu novo uspostavljenog društveno- simboliĉkog poretka. Suvremeni hrvatski igrani film je tematski izuzetno senzibilan na sliku društva opterećenog ratnim traumama i podjelama na temelju nacionalnosti, a pojedini autori slojevitom tematskom strukturom uspješno ilustriraju probleme hrvatskog društva te kanaliziraju društveno- politiĉku kritiku. Kljuĉne rijeĉi: suvremeni hrvatski igrani film, tematska struktura, Pulski filmski festival, utemeljena teorija, simboliĉki interakcionizam 1 Abstract The period in Croatian cinema after the abandonment of Yugoslavian political, social and cultural context in 1991, as well as the subsequent redifinition of the national cinema system, can rightfully be called the period of Croatian contemporary feature film. The main purpose of this paper is to analyze various thematical structures of the modern Croatian feature films as well as to interpet the results of the study while keeping in mind both political and social factors prevalent at the time of their making and, furthermore, to explore and determine the predominant thematic preoccupations of Croatian film directors, which areas of life tend to problematized in the sub-themes and which thematic motifs are used in order to enrich the film's narrative. The qualitative method of grounded theory provided the deep insight into the subject matter, while the use of symbolic interactionism lead to an interpretative approach to the results of the study. This cultural and scientific approach to contemporary Croatian feature films gives us a deeper insight into the still under-researched period of Croatian cinema, but also helps establish the framework necessary for a deeper understanding of the Croatian contemporary audiovisual culture. This study examines the themes of 39 films which won either the Grand Golden Arena for Best Film or the Golden Gate of Pula audience award (or both) at the most prominent Croatian annual film festival – Pula Film Festival – in the period between 1991 and 2016. The analysis shows us that the most popular themes include existential crisis and the question of identity in the context of newly established socio-symbolic order. Thematically speaking, Croatian contemporary feature film is very sensitive in its depiction of a society burdened with war trauma and national divides and some directors use layered thematic structure in order to sucessfully illustrate the problems of Croatian society of the day, as well as to canalize the socio-political critique. Keywords: Croatian contemporary feature film, thematic structure, Pula Film Festival, grounded theory, symbolic interactionism 2 Sadržaj 1. Uvod ............................................................................................................................................. 4 2. Teorijska pozadina: povijest hrvatskog filma .............................................................................. 7 2.1. Filmska pretpovijest i rani film u Hrvatskoj (1896.-1941.) .................................................. 7 2.2. Prevlast klasiĉnog narativnog stila (1941.-1962.) i poĉetak filmskog festivala u Puli ......... 8 2.3. Prevlast modernistiĉkog stila (1963.-1972.)........................................................................ 11 2.4. Kolektivna autocenzura 1970-ih te razvoj novoţanrovskog filma 1980-ih ........................ 13 2.5. Suvremeni hrvatski igrani film ............................................................................................ 15 3. Teorijska pozadina i metodologija ............................................................................................. 18 3.1. Narativna obiljeţja filma ..................................................................................................... 18 3.2. Kvalitativne metode istraţivanja: utemeljena teorija .......................................................... 19 3.3. Uzorak: filmski festival u Puli kao paradigma nacionalne kinematografije ....................... 22 3.4. Postupak kodiranja filmova ................................................................................................. 26 4. Rezultati kodiranja elemenata tematskih struktura suvremenih hrvatskih igranih filmova ....... 27 4. 1. MeĊuzavisnost glavnih tema i tematskih pozadina ......................................................... 27 4.1.1. Kriza društvenog identiteta kao tematska pozadina egzistencijalnih kriza .................. 27 4.1.2. Izravni doticaj povijesnih kretanja i tematske strukture .............................................. 32 4.1.3. Zabranjene ljubavi u pozadini nacionalnih i svjetonazorskih podjela ......................... 34 4.1.4. Moralne i egzistencijalne krize u kontekstu provincijskih zajednica .......................... 35 4.1.5. Ujedinjenje obitelji kao rezultat djeĉje hrabrosti ......................................................... 37 4.2. Tematski motivi ................................................................................................................... 38 4. Zakljuĉna rasprava ..................................................................................................................... 43 5. Popis korištenih izvora ............................................................................................................... 48 6.1. Teorijska djela ..................................................................................................................... 48 6.2. Audiovizualni izvori (filmovi) ............................................................................................ 50 6.3. Oprema teksta ...................................................................................................................... 52 3 1. Uvod Filmski medij od svojeg je poĉetka teţio reprezentiranju i opisivanju stvarnosti. Gledajući film gledatelj se prepušta imaginaciji i neizbjeţnoj subjektivnoj interpretaciji koju stimulira prikazivanje 24 sliĉica u sekundi, praćenih pripadnim im tonskim zapisom. Autori se, pak, koriste filmom kako bi govorili o zbilji, barem kako je oni doţivljavaju, pa se u procesu gledanja filmskog djela neizbjeţno ostvaruje komunikacija na relaciji autor – publika s filmom kao medijskim posrednikom. Iako je trebalo pola stoljeća kako bi se razvila sustavna jugoslavenska kinematografija, unutar koje su se u prošlom stoljeću razvijali hrvatski autori, od trenutka kada je film postao jedan od ĉimbenika modernosti ondašnjeg društva autori su poĉeli progovarati o aktualnostima i problemima s kojima se ono nosilo. Naime, nakon ideološki obojenih filmova koji su obraĊivali ratne teme iz Drugog svjetskog rata i promicali socijalistiĉki drţavni ustroj s naglaskom na kolektiv, autori su se, barem djelomice, odmaknuli od stroge reţimske kontrole pa su njihova djela progovorila o poratnoj tjeskobi i socijalnim problemima jugoslavenskog društva. Dakle, medij filma se razvio u umjetnost progovaranja o zbilji i istraţivanja psiholoških stanja pojedinaca u vremenu nakon Drugog svjetskog
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