Zagreb 29/2002 Hrvatski filmski - HFS

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gap between a film’s idea, its realization (output) and its presentation on the market. In short, basic goals of modern marketing are coordination, communication and exchange. However, any sort of mechanical implementation of marketing principles could be quite harmful. Vulgar commercialisation of film art destroys the identity of the author and undermines the aesthetic and ethical value of film along with the viewers’ taste, which is definitely not in the interest of marketing. The goal of marketing is to expose the author and his work to the wide public, however, it is not to encourage the production of works wide public expects or asks for. In other words, the goal is not to adapt the movies to the viewers but to find the right group of viewers for different types of films. Trying to achieve anything else could only be harmful, if not futile. In Croatia today, cinema attendance rates are extremely low; viewers are uninformed while at the same time there are very few new films. Film production is entirely dependent on the state funding and completely disoriented. Additional financial sources are non-existent, distribution is passive, cinemas mostly devastated, and other techniques of film projection backwards. Links between the three branches of cinematography are broken or weakened by counterproductive conflicts, and no effort is made to bring them together. However, if we choose to accept modern international market-orientation of film production, as well as study and apply some of the most successful world experiences, many of which have been mentioned in this essay, it might be possible to overturn this devastating situation. The awareness of the interdependence of the three branches of cinema is of crucial importance for the salvation of cinematography on the whole. One has to accept the fact that in order to make progress in any art field one has to create a foundation, in other words, create a market. Without the market, i. e. without films and viewers, offer and demand, cinema cannot develop. Cinema is as good as its weakest link, i. e. part of the film distribution channel that consists of producers, distributors, projectionists and consumers. Without the viewers there is no distribution and projections, and without these two film productions is a waste of time. Encouraging cinema viewing can be an impetus for the development of cinematography in general. Investments in building and modernization of cinemas are the first step. Next is the intensification of film production, its diversification, which would eventually result in specialised film markets directed towards smaller audiences. Otherwise, there will be no audience even for the biggest blockbusters, as is the case in Croatia today. The positive effects of marketing can be observed on several examples from the USA and some Western European countries, like France. Their markets are picking up, production is flourishing, but we are not in position to see all their new films due to our underdeveloped distribution network and cinemas. Distributors’ basic functions, as are those of any mediator, are to assume the responsibility and reduce risk (and indirectly prices), as well as to organise and stimulate develop- Hrvat. film. ljeto, Zagreb / god 7 (2001), br. 29, str. 209 do 219 Abstracts ment in general. Film distribution should be the moving force of the revival of Croatian cinema. Distribution is the only branch of cinema that is in contact with all other members of the film distribution channel while at the same time being wholesome on its own. It manages all the elements of the marketing mix, decides on the product, price, distribution and promotion. Its activities include the financing of production, reselling and marketing of films to other distributors and/or projectionists, and finally, informing the consumers and directing their choices. Vedran Mihleti} Film Production Menagement Study at the Zagreb Academy of Drama Arts (Concept and Curriculum) UDC: 791.44.075:378(497.5) The seventh undergraduate study — the study of production was established at the Academy of Dramatic Arts at the beginning of the academic year 2001/2002. For a number of years now, in the cinema, theatrical and media life, as well as at the Academy itself, there has been present a need for expert education of film, television and theatrical professionals dealing with production. The role of producer has not been appropriately defined and acknowledged in the domestic cultural practice thus disabling the expression of creative components of producing. This profession is preconditioned by the ability to make well-founded and independent analysis of the problems that arise in the chain of production of a film, television or a theatrical project, and this ability cannot be developed without consistent education. The educational chains for the domains of film, television and theatre lack precisely the figure that would unite and link all their elements: writer, dramaturge, actor, director, cameraman, and editor lack the support and cooperation of their colleague the producer when preparing and realizing their college projects. The Academy too encounters numerous organisational difficulties in its home production. Positive effects of the education of producers will primarily be felt in the professional practice when the graduates of others studies will cooperate with their colleagues producers in the realization of various artistic and media projects, enriching Croatian culture and media. Taking into account two relevant issues: limited area of Croatian cultural and media market and the fact that the Academy of Dramatic Arts encompasses the education of film, television and theatrical professions, it would be most convenient to direct the emphasis of the education of producers on the above mention fields, however, the choice of subjects and the curriculum should also allow the student to acquire knowledge needed for professional practice in all relevant media. 211 H R V A T S K I F I L M S K I L J E T O P I S 29/2002.
In short, the definition of the study is: the Study of Production with basic emphasis on film, television, theatre, and secondary emphasis on other media. The starting point of the program is based on the functional unison of creative and commercial-market aspects of the artistic and media product, along with the need to comprehend the idea of the project as well as various layers of its realisation and marketing. According to the conclusions of the Zagreb University regarding the establishment of the European Credit Transfer System, the curriculum of the Study of Production was set and scored according to this system. Apart from basic technical and theoretical subjects, some of the courses of the study of Production are held in cooperation with other faculties of the Zagreb University: 1. Faculty of Law 2. Faculty of Economics 3. Faculty of Electrical Engineering and Computing CHRONICLES CHRONICLE Daniel Rafaeli} Chronicle: November 2001 — January 2002 The author chronicles the events regarding film in Croatia in the course of three months (between two issues of the Croatian Cinema Chronicle) — new films, premieres, special projections, appearances of Croatian authors at different festivals and their awards, festivals, etc. FESTIVALS / SPECIAL PROGRAMS Diana Nenadi} Intimacy and creation against tradition and imitation 33rd revue of Croatian Film and Video, Daruvar, November 23-25, 2001 UDC: 791.43.091.4(497.5 Daruvar)”2001” +061.7(497.5 Daruvar):791.43.077 The 33rd annual gathering of the Croatian Film and Video in Daruvar was marked by the rivalry of the two oldest categories of Croatian non-professional film — (ethnographic) documentary and experimental film. Quite unjustly, their conflict overshadowed the animated film, currently produced in several places — in âkovec, Vara`din and Karlovac, FKVK ’Zapre{i}’, and the ciné club ’Liburnija’ in Rijeka. Besides the Zapre{i} club production, mostly oriented towards computer animated miniatures, the most potent animated contributions to the revue were made by Vjekoslav @iì}, a young animator from Karlovac — author of the animated film Anomija, characterized by the repetitive structure, 212 Hrvat. film. ljeto, Zagreb / god 7 (2001), br. 29, str. 209 do 219 Abstracts black and white technique and Kafkian atmosphere; and Petar Vidovi} from âkovec — author of the film Obsession characterized by colouristically saturated drawing, reduced animation and sleepy rhythm, articulating the story of the obsession of man with a female character. Although there were some interesting experimental works, the overall impression is that experimenting in non-professional film is slowly dying out. Traditionally genre oriented clubs, probably due to the shift of generations, treat experimentation quite passively and avoid complex forms. These are nevertheless present in the works of some of the prominent students of the Academy of Arts in Split. Jelena Nazor’s video Touch stood out introducing an intimate subject, confessional mode of narration and complex media interventions. K 51, experimental film by Matija Debeljuh offered a suggestive illustration of a body in convulsions revealing inner anxiety, while Polji~ka Road 25 by Goran â~e was an experimental ’out-of-joint’ document of the urban ambiance. The documentary selection was mostly oriented towards tradition and offered a number of rather uninteresting themes, however, Cuki by Elvis Leni} diserves special mention for its aesthetical and easy going approach to a simple subject of pumpkin picking. The authors of motion pictures mostly relied on imitative models or ridiculing blockbusters with few notable exceptions, such as was Zoran Zekanovi}’s film Leopold. Zekanovi} created a suggestive atmosphere and used a combination of objective/viewing aspects and subjective digressions to depict the lonely life of a young jeweler. Interesting works of the students of the Academy of Dramatic Arts enriched the motion picture category — Ljubo Lasi}’s Forever Mine, pseudo-crime story set in Orwellian atmosphere and Tomislav [ango’s Taxi for friends, a ’lazy’ story about the idleness of a group of youths from Zagreb. Once again the revue proved that the interest for one-minute movies is not diminishing. Furthermore, it showed that amateur videos are not one bit inferior to those coming from professional workshops, while at the same time they contribute to the diversity of the program and help create a more relaxed atmosphere of this traditional event. The text is suppelemented by a filmography of films entered for competition. Rada [e{i} International Documentary Filmfestival, Amsterdam 2001 UDC: 791.43.091.4(492 Amsterdam)”2001” 061.7(492 Amsterdam):791.43-92”2001” The International Documentary Filmfestival taking place in Amsterdam, Netherlands, is currently the most significant documentary festival in the world. The festival was started 14 years ago by a group of enthusiastic young girls who, after graduating from college, wanted to create something new and different in the world of film in Netherlands. Their beginnings were rather modest. They started with domestic film projections accompanied by an occasional guest, H R V A T S K I F I L M S K I L J E T O P I S 29/2002.
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Hrvatski filmski Ajanovi} Brlek êg
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HRVATSKI FILMSKI LJETOPIS ISSN 1330
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koga nastavka moè biti ubijen da b
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ubojstvo ili obi~ni duhovi. Bilo je
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18 @ANR Autori novog filma strave (
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26 Bilje{ke Literatura: Hrvat. film
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28 Jurij Norstein H R V A T S K I F
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58 KULTURNA POLITIKA: MARKETING, PR
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70 ISPRAVCI • Habek, M., Tadijan~
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72 istaknuti da je igrani film bio
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74 LJETOPISOV LJETOPIS Bibliografij
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80 FESTIVALI / PRIREDBE Filmografij
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82 OD 7 DO 22 / Videoskupina u~eni~
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FESTIVALI / PRIREDBE U poplavi film
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erg. Premda glasoviti filma{ tvrdi
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BIJELI PRAH / BLOW SAD, 2001. — p
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Hannibal prije negoli intrigantni.
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98 so~nih cinizama kojima vrvi ovaj
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100 MANDOLINA KAPETA- NA CORELLIJA
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sta iritantan, no za ve}inu je Nata
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izno{enjem istine i èli pomo}i da
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106 PLANET MAJMUNA / PLANET OF THE
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108 time da je poslala la`nu sliku
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novo redateljsko ime, ali je do sad
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stva, a ~injenica da je postao zamj
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REPERTOAR prosinac 2001/velja~a 200
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Page 211: approach to the archetypal heroes o
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Zagreb 29/2002 Hrvatski filmski - HFS

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