Zagreb 29/2002 Hrvatski filmski - HFS

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discussion or a special programme. The organizing team remained the same to this day. Its members are mostly women, however, the festival can now hardly be called modest — on the contrary, it is rich, even glamorous, to the extent that the authors of films allow. The number of festival viewers has been increasing year after year (last festival was attended by 60 000 viewers), and so has the number of prominent guests: authors, TV editors, critics, and producers. During the ten day festival in Amsterdam the audience can see approximately 200 interesting and important documentaries and experience new trends in the international documentary filmmaking, or meet classical authors such as Albert Maysles. On the other hand, the festival has become interesting to business people too. Although being the most representative festival of documentary film featuring some excellent programmes, it still has some limitations. Film selectors always seem to fall for a certain theme, time of shooting, or circumstances (country at war, rape, terrorism...) paying less attention to films style or language. However, even an excellent film with a theme already dealt with at one of the festivals will not enter the competition. On the other hand, authors from the countries dealing with various crises complain that European festivals turn away from their burning issues imposing criteria for technical quality and style that they cannot fulfill. Their films are, these authors say, usually screened in less important, thematical programs, and rarely in competition. If we disregard the issue of competition, numerous programs, thirteen of them to be more precise, with accompanying, important events (for example Pitching Forum) and film courses offer quite a diverse array of films. The author of the essay analyses the profile of each of the programmes of the last year’s festival (2001) and some of the more prominent films shown. She also reviews the reactions on the several Croatian films screened in special programmes. REPERTOIRE A filmography and the reviews of all films exhibited in Croatian cinema-theaters within the designated period (first run exhibition). There is also a number of reviews of a reduced selection of films on video new editions. INTERPRETATIONS, CONTESTS Diana Nenadi} Tarr’s Damnations A Film World of Hungarian Director Béla Tarr UDC: 791.44.071.1 Tarr, B. When reviewing retrospectives of films by the Hungarian director Béla Tarr, film critics regularly draw the line between his first three films — Family Nest (Családi tüzfészek, 1977), Outsider (Szabadgyalog, 1979-80) and The Prefab Pe- Hrvat. film. ljeto, Zagreb / god 7 (2001), br. 29, str. 209 do 219 Abstracts ople (Panelkapcsolat, 1982), characterized by the so-called social realism and the later ’onthological’ phase in which he achieved his creative peak with seven and a half hours long Devil’s Tango. The author of the essay analyses Tarr’s directorial evolution attempting to prove that despite the differences between earlier and later films, similar thematic preoccupations can be found in all Tarr’s opus — desolation, moral disarray, manipulation and (self)destruction. She goes on to focus on the films of the so-called devil’s trilogy — Damnation (Kárhózat, 1987), Satantango (Sátántangó, 1994) i Werckmeister’s Harmonies (Werckmeiter harmóniák, 2000) made in cooperation with the Hungarian writer László Krasznahorkai, in which Tarr’s poetics of chaos found the most appropriate expression. First catalyst of the poetics of chaos in his last movies was the treatment of space. ’Social’ trilogy was quite authentically placed in the Hungarian suburbs and was mostly spatialy cramped, which gave it a certain dramatic, intimate tone. Dramaturgy of the Almanach of Fall was closed in the interior and theatrical mise-en-scene. Contrary to that, devil’s trilogy implanted its spatial ’geometry’ into the Panonic ’horizontal’ and assinged a special task to the setting. Physical space was so dominating that it has almost transformed into a mute protagonist of the film or the physical extension of the characters. The extension of space and ambiental geometry served Tarr’s temporal ’architecture’ and his narrative concept, which ingenously permeated in the largest part of the Devil’s Tango divided on 12 subtitled sections. In a macabre manner, Krasznahorkai and Tarr interweave the chronological time of action, synchronism of the compositional/story-line subsections, real time comprehended as duration, and finally, the abstract — metaphysical time as a sum of all these different times. In the end, they obtained a cyclical temporal structure (and narration) after Bergsonian temporal model and Deleuzian idea of picture-time. Protagonists move through boundless space, through real and non-chronological time, which traps them and spins them in circles, resulting in total disorientation in time and space — of history, fictional film reality and its own fiction. Text is supplemented by the Tarr’s filmography. Tomislav Brlek Film, reviews, context: Alone by Lucas Nola UDC: 791.43(497.5)(049.3): 791.44.071.1 Nola, L. The article offers an analysis of the critical readings of the new Croatian film Alone (Sami, 2001) by Lukas Nola, focusing on the theoretical tenets underpinning those interpretations, regardless of their respective evaluative assessments of the film. The theoretical articulation of the referential frame operative in the reviews analysed is found in the works of Hrvoje Turkovi}, especially in his Theory of Film (Teorija filma, 1994). Given that any interpretation is determined by its chosen theoretical perspective, the analysis endeavors to 213 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.
expose the inadequacies and exclusions peculiar to this interpretative procedure and to demonstrate that the reading of the film Alone would yield significantly different results if studied within the semiotic perspective. Damir Radi} Pornophiles Sexuality Attacked by Feminist Criticism UDC: 791.43:176.8(049.2) 791.44.072.3 Vukajlovi}, @. The essay is trying to demonstrate what makes pornography special, although it was primarily the result of the author’s polemical reaction on @eljka Vukajlovi}’s analytical essay ’Pornographical Minds and Reactions on the Film Baise Moi’ published in the last issue of the Croatian Cinema Chronicle (27-28/2001). In her essay Vukajlovi} criticized the way Croatian critics approached the film Baise moi by Coralie Trinh Thi and Virginie Despentes. Radi} puts aside Vukajlovi}’s analysis of the critics and their opinions being much more interested in the authors basic theses where she claims that there exists a special female sexuality that includes special female ways of cognition and particular female artistic practices. She goes on to say that pornography presents ’domination of the male speech over female, victory of the male subject over female’, and that female sexuality is always presented in a stereotypical way. Radi} thinks that all her assumptions are incorrect, unsubstantiated, and based on a very limited knowledge of wider pornographic production. Firstly, he finds it impossible to prove that there are special female ways of cognition and specifically female artistic practices. Secondly, contrary to Vukajlovi}, he claims that in fact women are those who dominate contemporary porno film and video. Women carry all the main roles, while in the scenes of explicit sex woman is almost always the dominant character regardless of the position of man, which may be only ’technically’ dominant. It is not easy today to find a standard porno film (produced within the pornographic mainstream) that would be at the liking of men and women searching for the ultimate male domination. As far as the stereotypical presentation of female sex is concerned, Radi} believes that stereotypical characters, both male and female, are the key feature of all porno films. Today’s porno production consists of films that are focused exclusively on the sexual aspect, which leaves little room for characters as subjects. Directors prefer characters as objects that can be viewed as radical functions of an equally radically minimalist dramaturgy, if we can use the term dramaturgy at all. All characters ’suffer’ from this, not only female. Radi} claims that the main motif of a ’porno film’ is not male sexuality. Its goal is to demonstrate a certain type of sexuality, which is neither female nor male, practiced by individuals regardless of their gender. Pornographic films are mostly about pornophile’s sexuality. It has been censored for centuries, particularly depriving the female population. In 214 Hrvat. film. ljeto, Zagreb / god 7 (2001), br. 29, str. 209 do 219 Abstracts the last quarter, and especially the last decade of the 20 th century, prompted by the revolution in video, we witness the process of emancipation of viewers with pornophilistic sexual affinities, following in the footsteps of the liberal emancipatory efforts that have been conquering more and more space for individual freedom. Instead of giving due credit to pornography, antipornographical feminists attack it with unsustainable sophisms. Bruno Kragi} On Cabbages and Kings — Musings at the Lord of the Rings UDC: 791.43-312.9 Unanimously positive reactions of the readers and fans of Tolkien’s novel leave no room for doubt that the film is an almost perfect copy of the literary world of the novel on the silver screen. It has obviously fulfilled the expectations of its ideal viewers, Tolkien’s fans. The basic storyline, iconographic matrix and the atmosphere of the novel are identical to those of the novel; however, the novel and the film do not share the same narrative scheme. Although the omission of the episode with Tom Bombadil makes the narrative structure less rugged, it reduces the number of semantic layers of the film since Bombadil is the only character on which the ring has no effect. Furthermore, a whole layer of references is being left out (songs, ’historiographical comments’). Indeed, even if these changes make the film dramaturgically more coherent, when compared to the original, the film has lost its boundless dimension which is closely linked to the before mentioned rituality. Published during 1954 and 1955, Tolkien’s novel was maybe the most successful attempt at restoration of the old way of storytelling that literary critic Northrop Frye calls romance and considers being one of the four generators of literature. An important element of the plot in romance is adventure, meaning that romance is, by nature, at once sequential and procedural, while in its simplest form it is a never-ending story in which central character, who never develops and never grows old, goes from one adventure to another. However, when this never ending shape is broken by the transformation of the newspaper or film serial into a book or a film, the romance tends to narrow down on the series of smaller adventures leading to the main, ultimate adventure, usually announced from the very beginning, whose ending also signifies the end of the story. Lord of the Rings corresponds to the described model both as novel and film. The difference lays in the fact that the main adventure is not a quest, its goal is the destruction of the demonic ring. In order to destroy it, the hero has to travel to the place of the origin of the ring, which in the sense of the narrative structure equals a quest. Being a classical romance, the novel is an ideal example of anti modernism under which hides conservative scepticism towards hunger for power and human character in general. Marked with persistent nostalgia revi- 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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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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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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Zagreb 29/2002 Hrvatski filmski - HFS

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