53/2008 - HFS

hfl_53.qxp 2008-04-18 11:08 Page 161
Sa`eci
Summaries
FILMOLOGIJA I KOMPARATISTIKA
Ante Peterli}
Studij filma na Odsjeku za
komparativnu knji`evnost
UDK: 791.51(497.5)(091)
Utemeljitelj hrvatske filmologije obrazla`e pet faza povijesti znanstvenog
prou~avanja i nastave filma na Odsjeku za komparativnu knji`evnost Filozofskog
fakulteta Sveu~ili{ta u Zagrebu, u skladu sa zamislima utemeljitelja
toga odsjeka, profesora Ive Herge{i}a. Nakon obrazlaganja povijesti, nazna-
~eno je i sada{nje stanje, s upozorenjem o opasnostima {to ih nosi budu}-
nost.
FILM AND COMPARATIVE STUDIES
Ante Peterli}
Film Studies at Comparative Literature
Department
UDK: 791.51(497.5)(091)
The founding father of the Croatian film studies describes five historic
phases of scientific film research and film classes at the Comparative
Literature Department of the Faculty of Philosophy, University of Zagreb,
in accordance with the ideas of the Department's founder, Ivo Herge{i}.
After a historical overview, the current situation is described with a warning
about what the future might bring.
Nikica Gili}
Zapa`anja o (filmskom) `anru
UDK: 791.2
Autor obrazla`e problematiku filmskog `anra na temelju polaznih teza
izlo`enih u svome prilogu (»Modernizam i pitanje `anra«) u zborniku radova
3-2-1, KRENI!, te na temelju rasprave u sklopu filmolo{ke sekcije znanstvenog
skupa »Hrvatska komparatistika u europskom kontekstu«. Obrazla`u}i
va`nost ideje o `anru za sve segmente filmske komunikacije, autor
upozorava u kojoj se mjeri kategorije `anrova mijenjaju, a upozorava i na
va`nost ameri~ke kulture (osobito filma) za razumijevanje ~ak i izrazito modernisti~kih
rukavaca europskog filma. Dakako, i mnoge su europske kinematografije
barem u nekim razdobljima svoje povijesti bile industrije, ~ime
se mo`e barem dijelom obrazlo`iti (makar i privremena) prilagodba vrhunskih
europskih autora kao {to su Hitchcock, Lang, Sirk ili Murnau ameri~koj
filmskoj industriji. Potaknut opusom umjetnika kao {to su Lang, Hitchcock
ili Godard, autor zaklju~uje kako bi i znanost o knji`evnosti mogla
profitirati od interpretativne fleksibilnosti filmologije, pa bi se ve} odavno
priznati knji`evni klasici (Zlo~in i kazna, Rat i mir) mogli sagledati u novom
svjetlu, a razlika izme|u filmske i knji`evne umjetnosti mogla bi se shvatiti
ne samo kao plod razlike dva temeljno suprotstavljena medija nego, barem
u odre|enoj mjeri, i kao plod razlike uobi~ajenih interpretativnih modusa
filmologije i znanosti o knji`evnosti.
Tomislav Kurelec
Hrvatski igrani film u europskom
kontekstu
UDK: 791-21(497.5)
Autor, istaknuti hrvatski filmski kriti~ar, daje kra}i pregled povijesti hrvatskog
(prevenstveno cjelove~ernjeg igranog) filma, promatranog u europskom
kontekstu, po~ev{i s filmom Lisinski Oktavijana Mileti}a (1944), a
zavr{iv{i s problemima hrvatskog filma u tranziciji — u razdoblju rata i pora}a.
Posebnu pozornost pritom posve}uje jugoslavenskom kontekstu (s naglaskom
na utjecaj politike), potom poeti~kim i ideolo{kim utjecajima sa
Zapada i Istoka Europe, problemima `anrovske kinematografije, strujama
unutar filmske kritike, uzletu modernizma, ekonomskim ~imbenicima, kao
i utjecaju televizijskog medija na filmsku poetiku. Uz isticanje nedvojbene
va`nosti sagledavanja osebujnosti hrvatske kinematografije u ovoj se sinte-
Nikica Gili}
Observations about (film) genre
UDK: 791.2
The author explains the problem of the film genre based on the starting
points set out in his text (»Modernism and the issue of genre«) in the 3-2-
1, KRENI! reader (2006), and based on the discussion of the film studies
section of the scientific meeting »Croatian Film Studies in European context«.
Explaining the importance of the idea of genre for all the film communication
segments, the author warns about the measure to which genre
categories change as well as about the importance of the American culture
(especially film) for understanding even extremely modernist fragments of
the European cinema. Of course, many European cinemas were also industries,
at least in some parts of their history. This can at least partly explain
the fact that top European authors such as Hitchcock, Lang, Sirk and
Murnau adapted (at least temporarily) to the American film industry.
Prompted by the work of artists such as Lang, Hitchcock or Godard, the
author concludes that also literature studies could profit from interpretative
flexibilities of film studies and that also some long time ago recognized
classics (Crime and Punishment, War and Piece) could be examined in a new
light. The difference between film and literature could be seen as not only
the fruit of the difference between the two fundamentally opposite media
but also, at least to a certain extent, as the fruit of the difference between
the usual interpretative modes of film and literature studies.
Tomislav Kurelec
Croatian feature film in European
context
UDK: 791-21(497.5)
The author, a distinguished Croatian film critic, gives a brief overview of
the history of the Croatian film (primarily feature film), in the European
context, starting with Lisinski by Oktavijan Mileti} (1944) and finishing
with the problems of the Croatian film in the transition period — war and
the post-war years. The author puts special focus on the Yugoslavian context
(with an emphasis on the political influence), poetical and ideological
influences from western and eastern Europe, problems of the genre cinema,
film criticism tendencies, rise of modernism, economical factors, television
influence on film poetics. This essay emphasizes that it is important
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