Journal of Film Preservation - FIAF

película. Fué la que al año siguiente (1935) consiguió los máximos laureles.
Me refiero a la ya mencionada El hombre importante, su obra más
sobresaliente y la última que realizó (el estallido de nuestra querra civil,
más bien incivil, – 1936/1939 – cortó muchas cosas, incluso aficiones).
Para el rodaje del film precisaba de una protagonista femenina. Su hermano,
que ya tenía concedido el papel de protagonista masculino, propuso
a una amiga suya alumna, como él, de la Escuela de Bellas Artes.
Con ellos dos se llevó a cabo el rodaje del film. El realizador, poco a
poco, día a día, con la mirada tímidamente escondida detrás del visor
del tomavistas Paillard de 16 mm., se fue enamorando de su “estrella”.
Iniciaron el preceptivo noviazgo, interrumpido por los fatídicos hechos
de la guerra, finalizada la cual, a mediados de 1939 contrajeron matrimonio.
Al año siguiente, en el mes de julio, nació su primer hijo: YO.
Así pués, puedo afirmar (lo hago y con orgullo) que soy hijo de una
película amateur. Son necesarios más motivos?
Amateur - Alternative Film in Slovenia
Silvan Furlan
A Fragmentary Picture of the 70s and 80s
There are many interesting periods and developments in Slovenian film
history that have yet to be adequately documented and examined. One
of these is the “amateur/alternative” film movement, which we will
henceforth refer to as “a/a”. This article will attempt to describe developments
in this “genre” in the 70s and 80s. The Slovenska Kinoteka
(Slovene Cinémathèque, Ljubljana) and the Slovenski Filmski Arhiv
(Slovene Film Archive at the Archives of the Republic of Slovenia) have
established a research initiative into this period and genre which, as it
turns out, represents an important part of the region’s visual culture of
an era. Since January, the Slovenska kinoteka has programmed a
monthly series, “Slovene a/a film,” dedicated to the exploration of this
film tradition. The series began with the presentation of the experimental
feature film Daily News (1979; dir. Franci Slak), and continued with animation
films by Zvonko Coh and Milan Eric, and a program of short a/a
films from the 50s by Bostjan Hladnik. The April program showed rarely
seen films by Vinko Rozman, and later evenings dedicated to the work of
Vasko Pregelj, Nasko Kriznar and Karpo Godina are planned at the
Kinoteka. At the conclusion of the retrospective series, the Kinoteka and
the Arhiv intend to compile a permanent collection of Slovene a/a film
and to publish a book documenting this important part of the Slovene
cinematic tradition.
Perhaps because cinema itself was slow to take hold in Slovenia, the
tradition of Slovene film does not have a direct connection with the
mainstream European avant-garde movements (Impressionism, Constructivism,
Futurism, etc.). But despite its lack of connection to the
37 Journal of Film Preservation / 53 / 1996