53/2008 - HFS

hfl_53.qxp 2008-04-18 11:08 Page 166
Hrvat. film. ljeto, Zagreb / god 14 (2008), br. 53, str. 161 do 167 Sa`eci / Summaries
NOVE KNJIGE
Igor Bezinovi}
Ukratko o kratkoj knjizi o kratkom
filmu
(Marek Hendrykowski, Umetnost kratkog filma, prevela s
poljskog Vesna Marinkovi}, Beograd: Clio, 2004, ISBN
867102105X)
UDK: 791-22(049.3)
Rije~ »film« u svakodnevnom se govoru ~esto koristi kao sinonim za »dugometra`ni
igrani film« i rijetko }e tko pri spomenu naslova nekog filma
pomisliti da osoba s kojom razgovara govori o kratkometra`nom filmu. Autor
pri kraju ove knjige stoga tvrdi: »Kratki metar je danas nostalgi~na forma«;
me|utim, prva re~enica knjige glasi: »Kratka forma nije margina filma«.
Ova je knjiga zapravo skup kratkih eseja o pojedinim problemima vezanima
uz kratki film. Pristup kori{ten u knjizi svodi se na nesustavno nizanje
teorijskih zapa`anja i povijesnih zanimljivosti, uz kori{tenje velikog broja
primjera uglavnom iz bogate poljske kinematografije (uz popis 250 najva`nijih
kratkih filmova na kraju knjige). Autor kroz knjigu ne razvija specifi~nu
tezu, niti se ~esto poglavlja ne ve`u jedno na drugo. Me|utim, taj je
pristup ono {to ovu knjigu na zanimljiv na~in razlikuje od teorijskih nabrajanja
i klasificiranja. Dakle, radi se o uvelike neakademskom pristupu, o pristupu
osobe koja, povodom 35 godina postojanja me|unarodne konkurencije
Krakovskog filmskog festivala i povodom otprilike 100 godina postojanja
filmske umjetnosti, 1998. godine odlu~uje zapisati neka osobna zapa-
`anja o tome za{to je kratki film bitan i zanimljiv, budu}i da je on — prema
Hendrykowskom — »laboratorij filma«, osnova onog umjetni~kog u filmskom
stvarala{tvu.
Jurica Stare{in~i}
Panorama hibridnih tehnika animacije
(Marcel Jean, 2007, Kad animacija susre}e `ive, prevela s
francuskog Maja Sev{ek, Zagreb: Udruga 25 FPS, ISBN
9789539518835)
UDK: 791.228(091)
Kad je 1975. film Glad (La Faim, 1974) Petera Földesa nominiran za Oscara
u kategoriji kratkog animiranog filma, puno se pri~alo o novom, revolucionarnom
postupku u animaciji, ali malo tko je tom filmu odricao da je
zaista animiran, iako je ve}i dio faziranja automatski proveo novi ra~unalni
softver. Puno ve}u buku digao je pro{logodi{nji oskarovac u kategoriji
dugometra`nog animiranog filma, Ples malog pingvina (Happy Feet, George
Miller, s Warrenom Colemanom i Judy Morris, 2006), koji je koristio jo{
noviju tehnologiju izbacivanja tradicionalnog faziranja (motion capturing).
[to se promijenilo u percepciji podjednako revolucionarnih tehnologija od
1975. do danas? U svojoj kratkoj knjizi o tehnikama filmskog stvaranja koje
se nalaze negdje izme|u animacije i snimanja, Marcel Jean ne odgovara
izravno na ta pitanja, ali nastoji pru`iti dovoljno materijala za samostalno
promi{ljanje. Tako najve}i dio knjige zauzimaju razgovori s autorima ~iji su
se filmovi uvijek nalazili izvan trenutnih trendova te pregledi razvoja animiranog
filma od po~etaka, pred stotinjak godina, do danas. Osim izuzetne
aktualnosti teme (i ove godine je pitanje motion capturinga, ili digitalnih
marioneta, kako tu tehniku preferiraju zvati pojedini teoreti~ari animacije,
naro~ito oni konzervativniji, ponovo aktualizirano neuvr{tavanjem filma
Beowulf /Robert Zemeckis, 2007/ u konkurenciju animiranih filmova za
Oscara), knjigu zanimljivom ~ini i autorova nezainteresiranost za definicije,
semantiku i odvajanje filmskih rodova i vrsta. Ako autor u cijeloj knjizi zauzima
~vrst stav bilo prema ~emu, onda je to prema tome da nije va`no zovemo
li neki film animiranim, eksperimentalnim, dokumentarnim ili igranim.
NEW BOOKS
Igor Bezinovi}
On a short book on a short film in brief
(Marek Hendrykowski, Umetnost kratkog filma, Belgrade:
Clio, 2004, ISBN 867102105X)
UDK: 791-22(049.3)
In an everyday speech the term »film« is used as a synonym for a »feature
film« and if you mention a title of a film not many persons will think that
the person they are talking to is talking about a short film. At the end of his
book the author thus claims: »Short film is a nostalgic form today«.
However, the first sentence of his book is the following: »A short form is
not on the margins of the film«. This book is actually a compilation of short
essays on particular problems in relation to the short film. The approach
used in the book is reduced to an unsystematic listing of theoretical observations
and historical peculiarities and the use of many examples mostly
from the rich Polish cinema (with a list of 250 most important short films
at the end of the book). The author does not develop a specific thesis in his
book and very often his chapters are not linked. However, the approach is
what distinguishes this book in an interesting way from theoretical enumerations
and classifications. Therefore, we are talking about a highly nonacademic
approach, approach of a person who decided in 1998, on the
occasion of the 35th anniversary of the international competition at
Krakow film festival and on the occasion of the around 100th anniversary
of cinema, to write down some of his personal observations on why the
short film is interesting and important since it is — according to
Hendrykowski — the »film laboratory«, the basis of the artistic quality in
filmmaking.
Jurica Stare{in~i}
Panorama of hybrid animation
techniques
(Marcel Jean, 2007, kad animacija susre}e `ive, Zagreb:
Udruga 25 FPS, ISBN 9789539518835)
UDK: 791.228(091)
When Peter Földes's film Hunger (La Faim, 1974) was nominated for an
Oscar in the short animated film category in 1975, there was a lot of talk
about a new, revolutionary procedure in animation, but few people negated
that the film was really animated, although most motion capturing was
done automatically by means of new computer software. There was a lot
more discussion around the last year's Oscar winner in the category of the
animated feature-length film Happy Feet (George Miller, with Warren
Coleman and Judy Morris, 2006), which used a more recent technology of
eliminating traditional motion capturing. What has changed in the perception
of almost equally revolutionary technologies from 1975 till today? In
his short book on filmmaking techniques which are somewhere between
animation and filming, Marcel Jean does not answer these questions directly
but tries to provide sufficient material for individual assessment. Most
part of the book is dedicated to conversations with authors whose films
were always detached from current tendencies and to overviews of the
development of the animated film from the beginnings, around hundred
years ago, till today. Apart from the topicality of the book (the issue of
motion capturing or digital puppetry, as some animation theoreticians prefer
to call this technique, especially the more conservative ones, was again
very present this year because Beowulf /Robert Zemeckis, 2007/ was not
nominated for an Oscar in the category of animated films), the book is also
interesting because of author's lack of interest for definitions, semantics and
separation of film types. If the author in his entire book holds a firm attitude
about anything at all, then it's that it is irrelevant whether we call a
film an animated, experimental, documentary or a feature film.
166
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.