Hrvatski filmski savez

Hrvat. film. ljeto, Zagreb / god 11 (2005), br. 42, str. 203 do 211 Sa`eci / Summaries
Od tih {est filmova tri su u bila ’vrlo tipi~na’ za iranski film, jedan pomalo
’atipi~an’, a tek je jedan ozbiljnije razo~arao. Najstariji prikazani film Mrtva
priroda atipi~no se oslanja na strogi formalizam koji je u ovom slu~aju neobi~no
uspje{no spojen s zahtjevom za realizmom. Oblak i sunce, tipi~no za
iranski film u cjelini, ima jednostavnu pri~u, ugo|ajno predstavlja kombinaciju
tragikomi~nog i lirskog, a ponajvi{e osvaja trenucima dokumentaristi~ke
neposrednosti. Drvo `ivota je pak svojevrsna poetsko-lirsko-etnografska
kronika nomadskoga plemena nastanjena u planinama Tale{ iranske
provincije Gilan, a taj bi se film moglo se opisati i kao pandan narodne poeme
ili naivnog slikarstva. Uz ta tri vrlo dobra do odli~na djela, Putnik s
juga i Ro|enje jednog leptira, svojim su neorealisti~kim duhom, odnosno
bajkovitom jednostavno{}u karakteristi~na osvarenja iranske kinematografije.
Iako se ne izdvajaju zanimljivijim pristupom i posebnim stilom, to su
gleddljiva djela dok je jedino razo~aranje pompozni film religiozne tematike
Djevica Marija.
REPERTOAR
Rubrika donosi pregled svih filova s kino-repertoara i pregled biranih video
i DVD premijera
TUMA^ENJA
Robert F. Riesinger
Filmski znak: filmska semiotika Christiana
Metza
UDK: 791.32(091
791.32-05Metz, C.
Francuz Christian Metz razvija semioti~ku teoriju filma ponajprije iz lingvisti~ke,
a potom i iz psihoanaliti~ke perspektive. Pritom se prije svega nastavljao
na rad Ferdinanda de Saussurea koji je lingvistiku koncipirao kao
dio op}e znanosti o znaku i sustavima znakova, a na njega su utjecali i Lévi-
Strauss, Jakobson, Barthes, Genette, Lacan i drugi autori. Od filmologa su
na njega utjecali, primjerice, Arnheim, Balász te francuzi Gilbert Cohen-
Séat, André Bazin, Edgar Morin i Jean Mitry. U prvoj fazi svoga rada Metz
je prou~avanje filma izravno zasnovao na lingvistici, obra~unav{i se, me|utim,
s tradicionalnim shva}anjem ’jezika filma’. Zaklju~io je da je film langage
bez languea. U drugoj fazi iz sredine sedamdesetih Metz usvaja Freudove
ideje te je prvi znanstvenik koji je psihoanalizu primijenio na film, a u
tre}oj fazi svoga rada polazi od sredi{njega pojma »iskazivanja« (énonciation)
lingvista Émilea Benvenistea te istra`uje poglede u kameru, kori{tenje
glasa iz off-a, i napisanoga teksta u filmu, zrcalo i tako dalje. Teoretsko djelo
Christiana Metza prekretnica je u razvoju filmologije i njegov je rad i danas
utjecajan diljem svijeta.
Robert F. Riesinger
Paradigme filmske teorije — teorijska
klasifikacija Francesca Casettija
UDK: 791.32(091)
791.32-05Casetti, F.
Me|u malobrojnim se pregledima i povijestima filmskih teorija osobito
isti~e knjiga Teorie del cinema. 1945-1990 Francesca Casettija, koja razmatra
temeljne odrednice filmskih teorija. Ve} je u ranijim studijama Casetti
istaknuo ambiciju teoreti~ara da afirmiraju filmsku umjetnost i analizirao
druga va`na pitanje rane teorije, a potom je, slijede}i Christiana Metza, uo-
~io razliku izme|u internog promatranja filmske umjetnosti i eksternih studija
psiholo{ke, sociolo{ke, ekonomske i drugih dimenzija filma (koje se
prou~avaju uz pomo} razli~itih znanosti). Sli~no Metzu, Dudley Andrew je
1984. uvidio razliku izme|u teorija koje film promatraju kao skup primjera
na koje se ve} mogu primijeniti potpuno usustavljene kategorije (semioti~ke,
psihoanaliti~ke, ideolo{ke), te teorija koje kino promatraju kao ishodi{no
mjesto za sva pitanja. Casetti u svojoj knjizi analizira »ontolo{ke« teorije
filma koje se, pod utjecajem Andréa Bazina, bave temeljnim odre|ivanjem
prirode filma. Druga skupina filmskih teorija, koje Casetti naziva
(Derakht-e-jan, 1998) by Farhad Mehrenfar and Virgin Mary (Maryam
Moghadas) by Shahriar Bahrani.
Three of these six movies were »very typical« of Iranian cinema, one was a
bit »atypical«, and only one was a disappointment. The oldest film screened
Still Nature atypically leans on strong formalism, that was, in this case,
unusually successfully linked with the demand for realism. A Cloud and the
Sun, a typically Iranian film on the whole, has a simple story, represents an
ambiental combination of tragicomic and lyrical, and primarily captures
with moments of documentary directness. Tree of Life is some sort of poetic-lyric-ethnographic
chronicle of the Nomad tribe inhabiting the Talesch
mountains in the Iranian province of Gilan, and it could be described as a
counterpart of a folk poem or naïve painting. Alongside these three very
good to excellent works, figure Traveler from the South and The Birth of a
Butterfly, whose neorealist spirit, or in other words, fairytale simplicity is
characteristic of the Iranian cinema. Although they do not stand out in
approach or style, they are quite viewable, while the only disappointment
was the pompous film of religious thematic, Virgin Mary.
REPERTOIRE
This section offers a review of all films on cinema repertoire and a review
of chosen video and DVD premieres
INTERPRETATIONS
Robert F. Riesinger
Film sign: Christian Metz’s film semiotics
UDK: 791.32(091
791.32-05Metz, C.
French author Christian Metz develops a semiotic theory of film primarily
from linguistic, and consequently from psychoanalytic perspective. He
generally expanded on the work of Ferdinand de Saussure, whose concept
was to view linguistics as part of general science about the sign and systems
of signs, but Metz was also influenced by Lévi-Strauss, Jakobson, Barthes,
Genette, Lacan and other authors. Film scholars that have influenced his
work were, for example, Arnheim, Balász, and French authors Gilbert
Cohen-Séat, André Bazin, Edgar Morin and Jean Mitry. In the first phase
of his work, Metz based his research of film directly on linguistics, nevertheless
confronting the traditional view of ’the language of film’. He concluded
that film is langage without langue. In the second phase, in the mid
seventies, Metz embraced Freud’s ideas and was the first scientist who
applied psychoanalysis on film. In the third phase of his work he built on
the central notion of »expressing« (énonciation) introduced by the linguist
Émile Benveniste, and researched looking at the camera, the use of voice
off the screen, and the use of text in film, the mirror, etc. Christian Metz’s
theoretical work presents a turning point in the development of filmology,
and his writings are still widely influential.
Robert F. Riesinger
Paradigms of film theory — Francesco
Casetti’s theoretical classification
UDK: 791.32(091)
791.32-05Casetti, F.
Among the few histories of film theory one work stands out in particular
— Teorie del cinema. 1945-1990 by Francesco Casetti, a book that studies
basic determinants of film theories. In his earlier studies Casetti had already
outlined the ambition of theoreticians to affirm film art and analysed other
important questions of the early theory. Later on, following Christian
Metz, he noticed the difference between the internal observation of film art
and the external studies of psychological, sociological, economical, and
other dimensions of film (studied with the help of different sciences).
Similar to Metz, in 1984, Dudley Andrew recognized the difference
between theories that viewed film as a group of examples to which one can
apply already systematic categories (semiotic, psychoanalitic, ideological),
and theories that observed cinema as the original outcome for all questions.
In his book, Casetti analyses »ontological« theories of film that, under the
influence of André Bazin, dealt with basic defining of the nature of film.
205
H R V A T S K I F I L M S K I L J E T O P I S 42/2005.