Zagreb 29/2002 Hrvatski filmski - HFS

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World War II when radical socialist ideology introduced changes in all facets of life, amateur film included. After World War II, when the socialist state established itself, it started to give support to amateur movements in various artistic fields, and film clubs in different cities were initiated (first in Split, in 1952; in 1954 the activity of the Cine Club Zagreb was renewed; and in 1959 a Film club in Rijeka was initiated, etc.). At the beginning of the 1960s there was an influx of mostly young university students who initiated a new artistic approach in the Cine Club Zagreb and Cine Club Split, mostly with modernist (avant-garde) inclinations. Mihovil Pansini started several talks on the theme of ’anti film’ in Cine Club Zagreb, and in 1963 he established a biannual festival of experimental film (GEFF — Genre Film Festival; ’genre’ was UNICAs term for non-conventional forms). It lasted till 1970 (when the last, fourth festival was held). A number of significant avant-garde filmmakers became prominent in that period (Pansini, Vladimir Petek, Tomislav Gotovac, and some others in Zagreb, Ivan Martinac, along with some authors from Split). At the time, all the important output of experimental film was exclusively limited to these two film clubs (Split and Zagreb). However, later on they were joined by the film clubs in Rijeka and Osijek. Split Film Club produced two generations of notable filmmakers (in the ’60s and the ’80s). In 1955, the first children film club was initiated in Zagreb, but the children film-club movement spread quickly with the peak in the 1980s (190 children clubs). Most prominent clubs were those in Pitoma~a (Slavica, established in 1957), âkovec (where in 1975 a School of Animated Film was established, under the guidance of Edo Lukman), and Vara`din (Vanima). Today, the children film movement is strong, represented by 120 film clubs and has its own annual festival. In 1963, a film-club association was formed (Kino savez Hrvatske / Croatian Film Association, after 1990 renamed Hrvatski filmski savez / Croatian Film Clubs’ Association). Its first tasks were the organization of amateur film festivals, for adults and children alike. Gradually its activities expanded, and today they include the storing of amateur film and video material, technological support for individual non professional filmmakers, publishing, organization of educational courses, etc. In the seventies, a group of video artists emerged, mostly bound to video and TV workshops, and to art gallery milieu, outlining a number of important artists (Sanja Ivekovi}, Dalibor Martinis, Goran Trbuljak, Ivan Ladislav Galeta, Breda Beban and Hrvoje Horvati}). The transition from the 1980s to 1990s was marked by a global shift from the cinematographic technique to electronic, video technique. This was an impetus to production and Hrvat. film. ljeto, Zagreb / god 7 (2001), br. 29, str. 209 do 219 Abstracts the rise of new youth and adult film clubs, as well as a number of independent non-professional filmmakers. The filmclub scene was enlarged by a growing number of individual video artists. Still regularly held festivals of non-professional films (Revija neprofesijskog filmskog i video stvarala{tva / Revue of Non-Professional Film-and Video-making) are witnessing an increasing number of works entering the competition (from 80-100). ANALITICAL CONTENTS: Introduction; The inauguration of Film Section in Photo Club Zagreb; Affirmation of amateur filmmaking; Participation in the international film amateur movement; Competition for the best amateur films; All-Slavic amateur film competition; The inauguration of the Film Club Zagreb and the widening of amateur filmmaking; The renewal of amateur film movement in the fifties; Childrens filmmaking; Explorations of film language; Non professional film-and video-making in the nineties; Notes Vjekoslav Majcen Zvonimir Rogoz’s Filmography UDK: 012:791.44.071.2 Rogoz, Z. Zvonimir Rogoz (b. Zagreb 1887, d. Zagreb 1988) was an important Croatian and Czechoslovakian actor. He acted in supporting roles in Czechoslovakian silent movies (notably in the famous Ecstasy by G. Machatý, where he played the role of Hedy Lamarr’s husband). He continued to pursue his carrier mostly in Zagreb, acting both in theatre and on film. During his short study in Prague Cinemateque in 1999, Majcen compiled Rogoz’es complete filmography, although his manuscripts contained only a list of titles without further filmographic data. The list is published here, as it was found, in order to serve as the basis for possible further research. Vjekoslav Majcen Ljubomir Marakovi}’s Bibliography UDK: 012:791.44.072.3 Marakovi}, LJ. Ljubomir Marakovi} was an important literary critic between the two World Wars in Croatia, but it is less known that he regularly wrote film criticism and some important theoretical articles on film. Majcen was doing a research intending to write a paper on Marakovi} theoretical and critical work. Majcen’s manuscripts contained only a preparatory compilation of Marakovi}’s bibliography. It is published here for those interested in pursuing his research. 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. 219
220 O suradnicima Midhat ’Ajan’ Ajanovi} (Sarajevo, 1959), filmski autor i publicist. Tekstove o animaciji objavljuje u {vedskom Göteborg-Postenu i u ovom ~asopisu. Umjetni~ki direktor Animafesta, Zagreb 2002. Predaje animaciju, ìvi u Götteborgu. Tomislav Brlek (Zagreb, 1971), diplomirao engleski jezik i knjièvnost te {panjolski jezik i knjièvnost na Filozofskom fakultetu u Zagrebu, gdje radi kao asistent na Katedri za op}u povijest knjièvnosti Odsjeka za komparativnu knjièvnost. Suradnik je Zareza, Frakcije i drugih ~asopisa. Tomislav êgir (Zagreb, 1970), zavr{io povijest i povijest umjetnosti na zagreba~kom Filozofskom fakultetu. Objavljuje tekstove o filmu i likovnim umjetnostima u Hrvatskom slovu i ovdje. Zagreb. Nikica Gili} (Split, 1973), diplomirao komparativnu knjièvnost i anglistiku na Filozofskom fakultetu u Zagrebu. Radio kao novinar, objavljivao kritike, oglede i studije o filmskim, a povremeno i knjièvnim temama u Hrvatskom filmskom ljetopisu, Vijencu, Zarezu, Kolu, Quorumu, Zapisu, na 3. programu Hrvatskoga radija i drugdje. Ure- |ivao film u Zarezu. Zaposlio se 1998. na Odsjeku za komparativnu knjièvnost Filozofskog fakulteta kao znanstveni novak; od 1999. mla|i asistent. Urednik u ovom ~asopisu. Zagreb. Vladimir Gojun (Dubrovnik, 1979), student tre}e godine filmske i TV-montaè na Akademiji dramske umjetnosti, Zagreb. Prije studija objavljivao filmske osvrte u lokalnom listu. Pored studija radio kao drugi asistent montaè na TV-seriji Novo doba, uskoro asistent montaè na filmu Prezimiti u Riju Davora @mega~a. Nata{a Govedi} (Zagreb, 1969), magistrirala je 1999. na Filozofskom fakultetu u Zagrebu. Pi{e i objavljuje znanstvene studije, poeziju, kazali{ne, filmske i knjièvne kritike. Dosad je objavila vi{e od ~etrdeset znanstvenih studija, u zemlji (Knjièvna smotra, Medijska istraìvanja, Forum, Kolo, Republika) i u inozemstvu (austrijski ~asopis European Journal for Semiotic Studies/Europäische Zeitschrift für Semiotische Studien, talijanski Slavica Tergestina, slovenski Maska). Predaje u Centru za ènske studije, glavna je urednica u feministi~kom akademskom ~asopisu Tre}a, te urednica za kazali{te u Zarezu. Organizira Radionicu kulturalne konfrontacije. U izdanju Izvora objavila je knjigu Varanje vremena: Shakespeareova medijska sada{njica (2001), a u tisku joj je i knjiga Izbarati, iza}i, izboriti: kazali{ne, filmske i knjièvne studije (2002) u izdanju Centra za ènske studije. Janko Heidl (Zagreb, 1967), apsolvent reìje na ADU, radi kao pomo}nik reìje, kriti~ar u Ve~ernjem listu, suradnik na HTV. Zagreb. Goran Joveti} (Zagreb, 1976). Apsolvent talijanistike i povijesti umjetnosti na Filozofskom fakultetu u Zagrebu. Stalni suradnik Vjesnika od 1998, gdje pi{e filmske, likovne i knjièvne kritike. Zagreb. Bruno Kragi} (Split, 1973). Diplomirao komparativnu knjièvnost i romanistiku u Zagrebu. Radi u Leksikografskom zavodu Miroslav Krleà, gdje je redakcijski suradnik Hrvatske enciklopedije, ~lan uredni{tva Hrvatskoga biografskoga leksikona i urednik u Filmskom leksikonu. Objavljuje stru~ne radove, preteìto o filmskopovijesnim temama. Urednik u ovom ~asopisu. Zagreb. Marijan Krivak (Zagreb, 1963), magistrirao filozofiju na Filozofskom fakultetu u Zagrebu 1998, gdje je zavr{io i studij komparativne knjièvnosti. Objavljuje napise o filmu, videu i teoriji od 1989. godine — Kinoteka, Kontura, Arkzin (gdje tekstove potpisuje pseudonimom Milan Kanat), Zarez, Zapis i dr. Objavio knjigu Filozofijsko tematiziranje postmoderne (Hrvatsko filozofsko dru{tvo, Zagreb 2000). Urednik je u ~asopisu HFD-a Filozofska istraìvanja/Synthesis philosophica, a ~lan je i ure|iva~kog odbora Zapisa. Zagreb. Tomislav Kurelec (Karlovac, 1942). Diplomirao na Filozofskom fakultetu u Zagrebu. Urednik je filmskog programa na HTV-u, kolumnist u Vijencu. Zagreb. Elvis Leni} (Pula, 1971). Diplomirao strojarstvo na Tehni~kom fakultetu u Rijeci. Zaposlen u brodogradili{tu Uljanik. Sura|uje u Glasu Istre i u Novoj Istri. ^lan je skupine [ikuti machine, autor je nagra|enog dokumentarca Cuki (2001) napravljena u sklopu te skupine. Domagoj Lozina (Osijek, 1973). Diplomirao filmsko i TV-snimanje na Akademiji dramske umjetnosti (2001). Snima dokumentarce sa Zvonimirom Juri}em (Nebo ispod Osijeka, 1995, Tvr|a, 1999; Crnci su izdràli, a ja?, 2001) te njegov srednjometra`ni igrani (Die, Die My Darling, 1999). Vjekoslav Majcen (Zagreb, 1941 — Zagreb, 2001), doktorirao na Filozofskom fakultetu, Zagreb, iz filmskopovijesne tematike. Savjetnik u Hrvatskoj kinoteci, bio glavni urednik Zapisa i Hrvatskog filmskog i video godi{- 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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Hrvat. film. ljeto, Zagreb / god 8
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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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Wesa Cravena, o ~ijem je prvencu (L
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16 Zaklju~ak Hrvat. film. ljeto, Za
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18 @ANR Autori novog filma strave (
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22 Hrvat. film. ljeto, Zagreb / god
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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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56 Bilje{ke Hrvat. film. ljeto, Zag
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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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FINAL FANTASY / FINAL FANTASY: THE
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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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116 kom duhu i krajolicima, dakle o
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122 Hrvat. film. ljeto, Zagreb / go
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TUMAÊNJA, TUMAÎLA^KA NESLAGANJA D
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TUMAÊNJA, TUMAÎLA^KA NESLAGANJA B
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136 Bilje{ke Hrvat. film. ljeto, Za
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TUMAÊNJA, TUMAÎLA^KA NESLAGANJA E
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146 Redatelj: 1941. Who’s Been Ro
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160 STUDIJE I ISTRA@IVANJA Veliki m
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