53/2008 - HFS

hfl_53.qxp 2008-04-18 11:08 Page 164
Esej se osvr}e na recentni, ~etvrti film Lou Yea, kineskog redatelja tzv. {este
generacije kineskih redatelja. Ljetna pala~a (Yihe yuan, 2006) je zbog
prikazivanja studentskih nemira na trgu Tiananmen u Pekingu 1989., ali i
zbog eksplicitnih scena seksa, svojem redatelju donio zabranu rada i sukobe
s dr`avnom cenzurom. Autorica teksta razla`e strukturu Lou Yeova filma
kao prikaza putovanja jedne du{e od rodnoga grada preko studentskog
`ivota, koji se poklopio s revolucionarnim zbivanjima, do razo~aranja `ivotom
i smrti, u vremenu od 1989. do 2003. godine, odnosno, na filmsku pri-
~u kao metaforu razo~aranja jedne generacije. Teza je da se unutarnji konflikt
odvija kao odraz izvanjskog, i da je izvanjska fabula prikazana u filmu
(ona politi~ka) tek odraz jednog duhovnog putovanja koje se, prema Lou
Yeovim rije~ima, moglo dogoditi samo na tom mjestu i u to vrijeme.
164
Hrvat. film. ljeto, Zagreb / god 14 (2008), br. 53, str. 161 do 167 Sa`eci / Summaries
Marijan Krivak
Wim Wenders — ili filmski
postmodernizam »tijekom vremena«
UDK: 791.633-051Wenders, W.
791.038.6
U svojoj knjizi The Condition of Postmodernity. An Enquiry into the Origin
of Cultural Change (1990) David Harvey je pomo}u analiza »vremena
i prostora u postmodernom kinu« dao bitne odgovore na pitanje postmodernosti
na filmu. U njegovim analizama sredi{nje mjesto zauzimaju dva filma:
Blade Runner (Ridley Scott, 1982) i Nebo nad Berlinom (Der Himmel
über Berlin, Wim Wenders, 1987). Wendersovu opusu odgovara tip interpretacije
koja osnovom do`ivljavanja pojedinog filma ~ini svijest o recepciji,
te, onda, i o manipulaciji gledateljskim o~ekivanjima i variranju `anrovskih
obrazaca. Citatna polemi~nost, nagla{ena eklekti~nost, autoreferentnost,
kao i upu}enost na cjelokupnu povijest filmske umjetnosti daljnja su
postmodernisti~ka filmska uo~ljiva u Wendersa. Kada se isti~e »europskost«
kao specifi~nost teorijskog postmodernizma »lyotardovske provenijencije«,
ne smije se zanemariti ni ~injenica da je velik broj europskih filmskih autora
tog usmjerenja bio zadivljen ameri~kim `anrovskim filmom i njegovim
narativnim obrascima. S druge strane, populisti~ki karakter ameri~ke popart
umjetnosti najprimjerenije je stjeci{te konzumeristi~ke kulture, s ~ime se
postmodernizam naj~e{}e i identificira. U kontekstu navedenoga, autor
~lanka tematizira Wendersove filmove kao prototipske Po-Mo filmove, koji
ostvaruju specifi~an spoj ameri~ke pop-kulturne rock-ikonografije i naslije-
|a njema~ke Filmverlag der Autoren. U slijedu Harveya, napose se paralelno
gledaju i i{~itavaju Blade Runner i Nebo nad Berlinom kao dva pola, negativni
i pozitivni, postmoderne slike ameri~ke utopije.
Sre}ko Horvat
Terorizam na filmu (Umri mu{ki 4.0,
WTC, United 93, Rendition i druge
mitologije)
UDK: 323.285:791-21(73)"200"
Jedan dio teksta je ulomak iz knjige Diskurs terorizma, koja ove godine
izlazi u izdanju AGM-a. Putem analize novijih filmova o terorizmu, kao {to
su Umri mu{ki 4.0, WTC, United 93, Rendition i drugi, autor nastoji pokazati
kako se nakon 11. rujna medijski reprezentira terorizam. ^injenicu da
je WTC snimljen kao film katastrofe koji po svemu nalikuje na klasi~ne filmove
o potresima autor povezuje sa znamenitim potresom u Lisabonu, nude}i
tako interpretaciju po kojoj se i terorizam »naturalizira« i predstavlja
kao emanacija nekog onostranog i vje~nog Zla. Umjesto toga, terorizam bi
trebalo shvatiti ne samo kao rezultat nekih fanati~nih skupina (a teroristi su
u filmovima naj~e{}e portretirani upravo kao lu|aci koji se samo mole Alahu),
ve} kao rezultat ekonomsko-dru{tvene realnosti, odnosno kao sredstvo
s kojim se ne moramo slo`iti, ali koje je ovdje jer u suvremenom, zapadnom
svijetu o~ito ne{to ne valja.
Mia Dora Prvan
Ljetna pala~a Lou Yea: unutarnji put
pojedinca u politi~kom kontekstu
kineske 1989.
UDK: 791.633-051Lou, Y.
791-21(510)"200"
Marijan Krivak
Wim Wenders — or film postmodernity
»Im Lauf der Zeit«
UDK: 791.633-051Wenders, W.
791.038.6
In his book The Condition of Postmodernity. An Enquiry into the Origin of
Cultural Change (1990), David Harvey gave crucial answers to the question
of postmodernity in film by analysing »time and space in postmodern cinema«.
He focuses his analysis on two films: Blade Runner (Ridley Scott,
1982) and Wings of Desire (Der Himmel über Berlin, Wim Wenders, 1987).
A type of interpretation which makes the consciousness about reception
and about viewers expectations' manipulation and genre patterns' variation
a basis for experiencing individual films is the type of interpretation suitable
for Wenders's work. Polemical citations, pronounced eclecticism, selfreference,
and reference to the whole history of film are postmodernist elements
that can be captured in Wenders's films. When »a European quality«
is emphasized as a theoretical postmodernism specificity of »Lyotard origin«,
the fact that a high number of European film authors were impressed
by the American genre film and its narrative patterns can not be forgotten.
On the other hand, the populist character of the American pop-art is the
most adequate pool of consumer culture, with which postmodernism is
most commonly identified. The author of this text analyzes Wenders's films
as prototypical Po-Mo films which are a specific combination of the
American pop-culture and rock-iconography and the legacy of the German
Filmverlag der Autoren. Blade Runner and Der Himmel über Berlin are
examined separately as two poles, the negative and the positive, of the
postmodernist image of the American utopia.
Sre}ko Horvat
Terrorism on film (Die Hard 4.0, WTC,
United 93, Rendition, and other
mythologies)
UDK: 323.285:791-21(73)"200"
A part of the text is a paragraph from the book Discourse of Terrorism
which will be published this year by AGM publishing house (Zagreb).
Analyzing new films on terrorism, such as Die Hard 4.0, WTC, United 93,
Rendition and others, the author is trying to show how terrorism is presented
in the media after 9/11. The author uses the fact that WTC is made
as a disaster film that quite resembles classical films about earthquakes and
links it to a well-known Lisbon earthquake and thus gives another interpretation
which both naturalizes terrorism and presents it as the emanation
of some other-worldly and eternal Evil. Instead, terrorism should be understood
not only as a consequence of some fanatical groups (terrorists in films
are usually portrayed as lunatics praying to Allah) but as a consequence of
an economic and social reality, i.e. as a tool we need to confront but that
exists because there is obviously something wrong with the modern, western
world.
Mia Dora Prvan
Lou Ye's Summer Palace: internal road
of an individual in the political context
of China in 1989
UDK: 791.633-051Lou, Y.
791-21(510)"200"
The essay reviews the most recent and the fourth film by Lou Ye, a Chinese
director of the so-called sixth generation of Chinese directors. Summer
Palace (Yihe yuan, 2006) presents student protests on Tiananmen Square in
Beijing in 1989 and also some explicit sex scenes, which is why the director
was prohibited from work and had conflicts with state censorship. The
author of this text examines the structure of Lou Ye's film as a depiction of
a journey of a soul from the home town and student life, which coincided
with revolutionary events, to disappointment and death, from 1989 to
2003. The author examines the story as a metaphor of generation's disappointment.
The thesis is that the internal conflict is a reflection of the external
one, and that the external plot (the political part) is presented in the
film as only a reflection of a spiritual journey which, according to Lou Ye,
could only happen at that time on that place.
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.