Making Films In Latvia - First Motion

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2 Contents Inga Pērkone: A Brief Look at Latvian Film History 2 Dāvis Sīmanis: Untraditional Visual Forms in Latvian Cinematography: the Soviet Period 15 Līva Pētersone: Latvian Documentary Cinema: The New Generation 25 Inga Pērkone: Modernism and Latvian Cinema. The Case of Herz Frank 33 Viktorija Eksta: Group Portrait of an Empire 39 Zane Balčus: Narrative Trends in Recent Latvian Fiction Film 52 Agnese Surkova: Sight and Angle in the Cinema of Latvia: Widescreen in the 1950 and 1960s 65 Antra Cilinska: Making Films in Latvia: Producers' Challenges 76 Part-financed by the European Union (European Regional Development Fund and European Neighbourhood and Partnership Instrument) Page
3 Inga Pērkone A Brief Look at Latvian Film History It is a characteristic feature of small countries that the cultural processes are closely affiliated with the political and economical processes. It especially refers to such expensive and time-consuming branch of art as film. The changes in Latvian political situation in the 20th and the 21st centuries is the cause of the existence of two radically opposite systems of film production. During the years of independence of the Republic of Latvia (independence declared in 1918) – in the first two decades of the independence, as well as after the independence was restored in the 1990`s – the Latvian film industry consisted of many small-scale film production companies, lacking both substantial production equipment and their own financial resources. These small companies usually focused on a particular creative individual (during the 1920’s mostly on cinematographer, since the 1990’s – on director, seldom - on producer), who strives to bring their personal artistic interests to life. Lack of financial funds inevitably confronts the artistic ambitions with the interests of financial sponsors (either of the country, of local government, of a social organization or an individual). The country’s interest in national films followed by a targeted support began in 1934 along with the authoritarian coup d'état. All the initiative of private film production was slowly being taken over by the government. Exactly for this reason, after the occupation by the Soviet Union, it was not particualrly difficult to include Latvian cinema into the united USSR system. The occupation period by the Soviet Union is usually associated with mass-production filmmaking period that flourished in the 1970’s/1980’s, when the Riga Film Studio managed to produce up to 10 motion pictures every year. It also produced a significant number of documentaries and newsreels. Along with the Riga Film Studio, which was monitored by the USSR State Committee of Cinematography, a comparatively small number of films was also released by the Latvian Television. The commencement of the Republic of Latvia is closely linked to the ideas of Latvian national culture, which was built on a fundamental educational system, accessible to all. Unfortunately film, except for newsreels which was a statutory part of every cinema show, was never announced to be a part of ‘culture’, therefore it was left for private initiative without state support. Only a few enthusiasts were engaged in
Page 1: 1 SELECTION OF ARTICLES ON LATVIAN
Page 5 and 6: Rostislav Goryayev has said: ”The
Page 7 and 8: themselves. Madara’s offcast serv
Page 9 and 10: was changed to Stone and Flinders (
Page 11 and 12: e used as a succesful drama constru
Page 13 and 14: esistance form against general Russ
Page 15 and 16: with nation’s mental structure at
Page 17 and 18: instance, in the sequence where the
Page 19 and 20: ut camera creates its own visual na
Page 21 and 22: The school of modernism that applie
Page 23 and 24: Another obvious modernist trend was
Page 25 and 26: nonstandard vertical and horizontal
Page 27 and 28: portraying either places or protago
Page 29 and 30: propaganda-collaborators like Kluci
Page 31 and 32: striking similarity to an earlier f
Page 33 and 34: Locarno, and other major film festi
Page 35 and 36: 1950s. Instead of the imposing, her
Page 37 and 38: film moves up the spiral, gradually
Page 39 and 40: meticulous technical preparation, t
Page 41 and 42: 41 It all started once in a public
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Page 49 and 50: situations. KrūmiĦš assisted Bra
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large audiences, latter concentrati
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ealities of the time and this probl
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58 Urban existentialism from People
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husband, whose personality is divid
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fabula events is in the film Return
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ead as projected through the narrat
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Agnese Surkova INTRODUCTION 66 SIGH
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68 The film The Clouds Pass by Like
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new widescreen films reached the sc
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adopted format become a major chall
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the lens, frames them in a closer s
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BIBLIOGRAPHY 76 1. Barr, C. (1963)
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local state film studio and state t
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80 Year National Film 2007 2 219 95
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