53/2008 - HFS

hfl_53.qxp 2008-04-18 11:08 Page 162
Hrvat. film. ljeto, Zagreb / god 14 (2008), br. 53, str. 161 do 167 Sa`eci / Summaries
zi isti~e i va`nost njenog tuma~enja unutar kulturnog konteksta u kojem se
razvija te va`nost uo~avanja na~ina na koji hrvatski film povratno djeluje na
taj kontekst, a upozorava se i na probleme dominantnih modela produciranja
filmova u Hrvatskoj.
Irena Paulus
Prou~avanje hrvatske filmske glazbe
UDK: 791.636:78(497.5)
Autorica opisuje svoja iskustva u pionirskom prou~avanju opusa hrvatskih
skladatelja filmske glazbe. Od potpune zanemarenosti unutar muzikologije,
izdava{tva knjiga o glazbi i nosa~a zvuka do knjige s podrobnim filmografijama
i opisima cjelokupnih partitura trebalo je pro}i dosta mukotrpnog
samostalnog istra`ivanja, premda su neke temelje postavili Filmska enciklopedija
LZ Miroslav Krle`a i stru~ni ~asopis Hrvatski filmski ljetopis, koji su
pozornost posvetili i ovom aspektu filmskog stvarala{tva. Nakon uvodnih
istra`ivanja koja donosi autori~ina knjiga Glazba s ekrana, daljnja bi istra`ivanja
trebala biti bitno lak{a.
Slaven Ze~evi}
Ve~era kod Vidasa (neobavezan uvod u
redateljski prvijenac Nikole Tanhofera
Nije bilo uzalud)
UDK: 791.633-051Tanhofer, N.
Analiziraju}i film Nije bilo uzalud, igranofilmski prvijenac hrvatskog redatelja
i direktora fotografije Nikole Tanhofera, studija ga smje{ta u kontekst
hrvatske (i jugoslavenske) kinematografije pedesetih godina, isti~u}i njegovu
inovativnost utemeljenu na zasadama klasi~nog fabularnog stila (formuliranog
u SAD jo{ u razdoblju nijemog filma), usporedivu i sa zasadama klasi~ne
njema~ke kinematografije. Pomna analiza dijalo{ke scene u interijeru
Tanhoferova filma (scena ve~ere) ilustrira kako kod Tanhofera spektakularnost
i vizualnu atraktivnost nisu uvjetovali spektakularni sadr`aji (primjerice
eksterijeri mo~vare); filmski stil ostvaruje specifi~nu vrstu spektakla. Studija
poku{ava odgovoriti i na pitanje za{to autori poput Tanhofera u danom
povijesno-estetskom kontekstu nisu imali pravoga odjeka niti pravih nastavlja~a,
uspore|uju}i njegovu ulogu u povijesti hrvatskog filma s ulogom
Mileti}a, Bauera, Golika, Belana i drugih klasika.
STUDIJE
Janica Tomi}
Po~eci i zlatno doba {vedske
kinematografije: otkrivanje autonomije
UDK: 791.11 (485)
Tema {vedskoga nijemog filma, naro~ito u posljednjih dvadesetak godina,
proizvela je u [vedskoj i izvan nje skupinu tekstova koji su danas op}e mjesto
u prou~avanju epohe koja se prepoznaje kao jedan od vrhunaca {vedske
kinematografije i relevantan dio povijesti filma uop}e. Nadovezuju}i se, izme|u
ostalog, i na povijesne studije (nijemoga) filma R. Waldekranza, na iscrpnu
studiju tada{njega filmskog diskursa E. Liljedahl Stummfilmen i Sverige
— kritik och debatt (1970) te na Olssonove analize cenzorskih debata
u [vedskoj, autori se bave {irokim spektrom formalnih i kontekstualnih karakteristika,
iz ~ega se mogu izdvojiti dvije tematske cjeline — prva polazi
od podteksta nastanka i utjecaja cenzure u razdoblju ranoga nijemog filma,
dok druga prati konstrukciju tzv. zlatnog doba {vedskoga filma u kasnijem
periodu, od sredine 1910-ih do ranih 1920-ih. Ideja je ovoga teksta da se
oko tih problema organizira pregled va`nijih postavki iz spomenutih tekstova,
uglavnom nedostupnih u prijevodima izvan [vedske, odnosno da se
ti problemi pove`u s po~etni~kom fascinacijom ranim filmskim teorijama i
skandinavskim nijemim filmom.
to take into consideration the Croatian cinema peculiarities and also that
the Croatian cinema has to be interpreted within the cultural context in
which it develops. Furthermore, it is important to identify the manners in
which the Croatian film makes a reverse impact on that context. The
author also mentions the problem of dominant film production models in
Croatia.
Irena Paulus
Studying Croatian film music
UDK: 791.636:78(497.5)
The author describes the experiences of her ground-breaking studies of the
work of the Croatian film music composers. It took her long and hard
research to get from the state of a complete neglect in terms of music studies,
music books and sound recording media publishing, to a book with
detailed photographs and complete scores, although a basis was set in the
Film Encyclopaedia published by the Miroslav Krle`a Lexicographic
Institute and in the professional magazine Hrvatski filmski ljetopis which
dedicated attention to this aspect of filmmaking as well. After introductory
research set out in the author's book Screen Music, further research
should be much easier.
Slaven Ze~evi}
Dinner at Vidas's (Informal introductory
to the first film by Nikola Tanhofer Nije
bilo uzalud)
UDK: 791.633-051Tanhofer, N.
Analyzing the film Nije bilo uzalud, the first feature film by the Croatian
film and photography director Nikola Tanhofer, the essay places it in the
context of the Croatian (and Yugoslavian) cinema of the fifties. The essay
emphasises its innovativeness based on the principles of the classical plot
style (formulated in the USA already in the silent film period), comparable
to the principles of the classical German cinema. The thorough analysis of
the dialogue scene which takes place in the interior of the Tanhofer's film
(the dinner scene) illustrates that in Tanhofer's film the visual attractiveness
is not conditioned by spectacular contents (like for example swamp exteriors).
Film style produces a special kind of spectacle. Comparing the role of
Tanhofer in the Croatian film history with the role of Mileti}, Bauer, Golik,
Belan and others, the essay also tries to answer the question of why authors
such as Tanhofer did not make the right impact and did not find real successors
in the given historical and aesthetic context.
STUDIES
Janica Tomi}
Beginnings and Golden Age of Swedish
Cinema: disclosing autonomy
UDK: 791.11 (485)
The topic of the Swedish silent film, especially in the last twenty years, produced
a group of texts in Sweden and abroad which today represent the
core literature if you want to examine the epoch which is often seen as the
peak of the Swedish cinema and a relevant part of the history of film in general.
Drawing on historic studies of the (silent) R. Waldekranz's film,
detailed study of the then film discourse by E. Liljedahl Stummfilmen i
Sverige — kritik och debatt (1970) and Olsson's analyses of censorship
debates in Sweden, the authors examine a wide spectrum of formal and
contextual characteristics out of which two thematic units should be distinguished
— the first unit starts from the subtext of the appearance and
influence of censorship in the period of the early silent film, while the other
deals with the so called golden age of the Swedish film in the later period,
from mid-1910s to early 1920s. The idea of this text is to organize an
overview of more important elements of the mentioned texts, which are
almost impossible to find outside Sweden, around those problems, i.e. to
link those problems with the beginner's fascination with early film theories
and the Scandinavian silent film.
162
H R V A T S K I F I L M S K I L J E T O P I S 53/2008.