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vo`nja ili posljednja jesen Ivana Bre`inskog M. Puhlovskog (1995), kao i<br />
neke srednjometra`ne filmove iz tog razdoblja: Kositreno srce M. Jurana<br />
(1994) te No} za slu{anje Jelene Rajkovi} i Mrtva to~ka Snje`ane Tribuson<br />
(1995).<br />
POVODOM KNJIGA<br />
Ivo [krabalo<br />
Tragovima razvoja audovizualnoga<br />
medija, ili kako se kalio na{ TV-ekran<br />
Nikola Von~ina, 2003, Najgledanije emisije 1964-1971.<br />
Prilozi za povijest radija i televizije V, Zagreb: Hrvatska<br />
radiotelevizija<br />
UDK: 7097(497.5)"196"(049.3)<br />
Peti svezak u seriji monografija o povijesti Hrvatske radio-televizije autora<br />
Nikole Von~ine, odnosno nekada{nje Radiotelevizije Zagreb, donosi historijat<br />
dr`avne televizije izme|u 1964. i 1971. godine. Arhivski i statisti~ki<br />
podaci koje je sakupio Von~ina svjedo~e o dalekovidnosti ulaganja u oda-<br />
{ilja~e i veze — do 1971. cijelo, vrlo neprikladno geografsko podru~je Hrvatske<br />
bilo je pokriveno TV-signalom, {to je pratio i velik rast broja televizora<br />
u ku}anstvima. To razdoblje najve}eg uspona »novog« medija, razdoblje<br />
njegova potpunog udoma}ivanja, bilo je i vrijeme napete kako me|unarodne<br />
geopolitike, tako i unutarjugoslavenske politi~ke situacije. U razdoblju<br />
jugoslavenske liberalizacije, okon~anom studentskim pokretima<br />
1968. i 1971, upravo je televizijski medij bio najve}im poligonom za suprotstavljene<br />
politi~ke opcije. U sklopu federalne organizacije TV-centara,<br />
u kojem je TV Beograd imao neupitnu politi~ku prednost, to se iskazalo<br />
kroz rivalstvo zagreba~kog i beogradskog TV-centra (primjerice u borbi za<br />
samostalni republi~ki hrvatski Dnevnik), odnosno dugotrajnoj organizacijskoj<br />
borbi koja je na duge staze stvorila zaseban, federalan, odnosno nacionalni<br />
hrvatski radijski i TV-program. Nikola Von~ina, ina~e utemeljitelj arhivskog<br />
centra televizije i radija, u svojoj monografiji ovo prijelomno razdoblje<br />
obra|uje kronolo{ki, prate}i najgledanije emisije i programe (obavijesno-politi~ki<br />
i dokumentarni). Taj pristup unekoliko olak{ava pra}enje historijata,<br />
ali i optere}uje gomilanjem statisti~kih podataka (dokumenata,<br />
statistika, ispitivanja gledanosti, zapisnika, zakonskih odluka, godi{njaka,<br />
programskih planova, slu`benih dopisa i obilja druge arhivske gra|e), te<br />
pogotovo manjka zaklju~cima. Ipak, rije~ je o fundacijskoj, bogatoj i prijeko<br />
potrebnoj knjizi — kao i cijeloj Von~ininoj seriji monografija — koja }e<br />
biti obilno arhivsko ishodi{te svih budu}ih istra`ivanja na podru~ju audiovizualnih<br />
medija u Hrvatskoj.<br />
Dejan Kosanovi}<br />
Dragocena knjiga u pravom trenutku<br />
Mato Kukuljica, 2004, Za{tita i restauracija filmskog<br />
gradiva, Zagreb: <strong>Hrvatski</strong> dr`avni arhiv<br />
Hrvat. film. ljeto, Zagreb / god 11 (2005), br. 42, str. 203 do 211 Sa`eci / Summaries<br />
UDK: 791.025.3/.4(049.3)<br />
Poznata je ~injenica da je najve}i dio rane filmske gra|e i nijemog filma zauvijek<br />
izgubljen. Svijest o potrebi o~uvanja filmova razvija se tek za Prvoga<br />
svjetskog rata, kao dokumentarnoga materijala, ali i za potrebe ponovnog<br />
komercijalnog prikazivanja, kao i dokazivanja vlasni~kog prava ~uvanjem<br />
negativa. No, pri prijelazu na zvuk, mnogi su producenti uni{tili »suvi{ne«<br />
nijeme filmove. Sredinom 1930-ih utemeljeni su prvi nacionalni <strong>filmski</strong> arhivi,<br />
u Njema~koj, Francuskoj, Velikoj Britaniji i SAD-u, koji su 1938. utemeljili<br />
FIAF. U svojoj sveobuhvatnoj knjizi dr. Mato Kukuljica, ravnatelj<br />
Hrvatske kinoteke, tematski jasno usmjereno, stru~no izuzetno precizno i<br />
tematski komponirano daje pogled na cjelokupno podru~je filmske arhivistike.<br />
U prvim poglavljima prikazuje razvoj filmske arhivistike od ideje o<br />
o~uvanju filmova do suvremenog odnosa prema cjelokupnom filmskom naslije|u,<br />
paralelno daju}i pregled filmske povijesti iz tehnolo{ke perspektive.<br />
Tre}e poglavlje precizno se bavi filmskom vrpcom i njezinim propadanjem<br />
i o~uvanjem — jezgrom bavljenja filmske arhivistike, a prati ga sredi{nji dio<br />
knjige, detaljna stru~na poglavlja o svim aspektima identifikacije, za{tite, arhiviranja<br />
i restauracije filmske gra|e, daju}i odgovor na doslovno svako pitanje<br />
s kojim bi se suo~io <strong>filmski</strong> arhivist. Na to se nastavlja poglavlje o no-<br />
Leaden Communion by E. Gali}, I’ll Be Seeing You by I. Salaj, and Special<br />
Ride or the Last Fall of Ivan Bre`inski by M. Puhlovski (1995), along with<br />
several middle meters from that period: Tin Heart by M. Juran (1994),<br />
Night for Listening by Jelena Rajkovi} and Dead Point by Snje`ana Tribuson<br />
(1995).<br />
DISCUSSING BOOKS<br />
Ivo [krabalo<br />
On the trail of the growth of an<br />
audiovisual medium<br />
Nikola Von~ina, 2003, Shows with best rating from 1964-<br />
1971. Contributions to the history of radio and Television V,<br />
Zagreb: Croatian radio-television<br />
UDK: 7097(497.5)"196"(049.3)<br />
Fifth volume of the series of monographs about the history of Croatian<br />
radio-television by Nikola Von~ina, presents a history of national television<br />
from the period between 1964-1971. Archivist and statistic data collected<br />
by Voncina testify how foresighted it was to invest in connections and<br />
transmitters — until 1971, the whole, rather unsuitable geographic area of<br />
Croatia was covered with TV-signal, which was accompanied by a huge<br />
increase in the number of television sets in homes. The period of the greatest<br />
rise of the »new« medium, the time when it had definitely settled in peoples’<br />
homes, was also the time of a very high-strung international geopolitical<br />
situation, as well as domestic. In the period of liberalization of<br />
Yugoslavia, that ended with student movements in 1968 and 1971, television<br />
was the greatest arena for conflicting political options. In the context<br />
of the federal organization of TV-centres TV Belgrade had unquestionable<br />
political advantage, which was reflected in the rivalry between the Zagreb<br />
and Belgrade TV centres (for example in the battle for the separate<br />
Croatian Evening News), or in other words, a long-term organisational<br />
fight that resulted with a separate, federal, that is to say, national, Croatian<br />
radio and TV program. Nikola Von~ina, a founder of the television and<br />
radio archives centre, chronologically examines this landmark period, following<br />
shows and programs (informative-political and documentary) with<br />
best ratings. This approach somewhat facilitates covering the history, but<br />
also burdens it with abundant statistical data (documents, statistics, ratings,<br />
notes, laws, yearbooks, program plans, official memos and other archivist<br />
material), while lacking in conclusions. Still, it is a fundational, rich and<br />
needed book — like all the books from Voncina’s monograph series —<br />
which will present an abundant archival starting point of all future<br />
researches in the field of audio-visual medium in Croatia.<br />
Dejan Kosanovi}<br />
Valuable book at the right moment<br />
Mato Kukuljica, 2004, Protection and restauration of film<br />
stock, Zagreb: Croatian State Archive<br />
UDK: 791.025.3/.4(049.3)<br />
It is a well-known fact that the biggest part of early film stock and silent<br />
film is lost forever. The awareness of the need to preserve films developed<br />
only during the First World War, as preservation of documentary material,<br />
but also for the needs of repeated commercial screenings, and proving ownership<br />
with preservation of negatives. However, when switching to sound,<br />
many producers have destroyed »superfluous« silent films. By the mid<br />
1930s, first national film archives were founded in Germany, France, Great<br />
Britain, and the USA, and in 1938 they founded FIAF. In his comprehensive<br />
book, Mato Kukuljica, director of Croatian Cinématheque, reviews the<br />
wholesome area of film archiving with thematically clear, precisely, expertly<br />
and thematically composed insight. In the first chapters he presents the<br />
development of film archiving from the idea of film preservation to contemporary<br />
attitude towards film heritage, correspondingly giving an<br />
overview of film history from technological perspective. The third chapter<br />
deals with film tape in detail, its decay and preservation — the core task of<br />
film archiving, followed by the central part of the book, detailed, expert<br />
chapters about all the aspects of identification, protection, archiving and<br />
restoration of film stock, giving an answer to literally every question a film<br />
209<br />
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.
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