Hrvatski filmski savez

ma koji se svrstavaju u vrhunce hrvatske maritimne knji`evnosti. Prije Drugog
svjetskog rata Fuis je napisao i niz scenarija za klasi~ne stripove legendarnog
Andrije Maurovi}a. Uz to, pisao je drame i novele. U Drugom svjetskom
ratu, Fuis je radio kao partizanski ilegalac u usta{kom Zagrebu; poginuo
je 1942. u padu aviona kojim je na partizanski teritorij prebacivao filmsku
opremu za potrebe partizanskih `urnala. To je godinama bila jedina poznata
veza Fuisa s filmom; no nedavno objavljena knjiga, koja sadr`i njegov
nerealizirani filmski scenarij Zakon rieke i popratnu studiju Daniela Rafaeli}a,
otkriva da je Fuis radio kao scenarist, pa mo`da i redatelj usta{kih `urnala
u dr`avnom Hrvatskom slikopisu 1941-42, ~iji su zaposlenici ina~e
igrali dvostruku ulogu, spasiv{i 1945. svu filmsku opremu koja je u~inila
mogu}im pokretanje filmske proizvodnje u poratnoj komunisti~koj Jugoslaviji.
Fuisov scenarij na tragu je njegovih osvije{tenih, lijevih socijalnih reporta`a
iz 1920-ih i 1930-ih, a zanimljiv je kao nevjerojatan povijesni kuriozitet
jer je, premda napisan za nacisti~ku dr`avnu kinematografiju, strukturiran
kao tipi~an socrealisti~ki film, desetak godina prije takvih ostvarenja
u hrvatskoj kulturi, premda nije vjerojatno da je Fuis poznavao sovjetski
socrealizam 1930-ih. Stoga ovaj »novootkriveni« scenarij upu}uje budu-
}e analiti~are na unekoliko druga~ije korijene hrvatskoga socrealizma, koje
bi trebalo barem djelomice tra`iti u socijalnom realizmu, ina~e iznimno jakoj
struji u me|uratnoj hrvatskoj knji`evnosti.
Milka Car
Fassbinder — dramati~ar i filmski
redatelj
Rainer Werner Fassbinder, 2004, Anarhija u Bavarskoj,
Zagreb: DAF, prevela Vlatka [imunovi}
UDK :821.112.2-05Fassbinder, R. W
821.112.2-2"196"(049.3)
Temelj ovoga ~lanka tvori ukazivanje na usku vezu izme|u filmskih i dramskih
elemenata u djelu filmskoga redatelja i dramati~ara Rainera Wernera
Fassbindera. Budu}i da je njegovo dramsko stvarala{tvo manje poznato, te-
`i{te je stavljeno na njegove rane drame, nedavno objavljene i na hrvatskom
jeziku. Promatraju se utjecaji na njegovu poetiku, od dru{tveno-politi~kih
okolnosti njegova doba i izra`avanja kriti~ke svijesti do knji`evnih uzora
koje je Fassbinder na{ao u pokretu historijske avangarde i ponajprije u reformiranom
pu~kom komadu njema~koga govornog podru~ja po~etkom
sedamdesetih godina dvadesetoga stolje}a.
LJETOPISOV LJETOPIS
Marcella Jeli}
Kronika
Klju~ni doga|aji u hrvaskoj kinematografiji.
Hrvat. film. ljeto, Zagreb / god 11 (2005), br. 42, str. 203 do 211 Sa`eci / Summaries
that were considered one of the best works of Croatian maritime literature.
Before World War I, Fuis wrote several scripts for legendary Andrija
Maurovi}’s classical comic books. Besides that, he wrote dramas and novels.
During the Second World War, Fuis worked as a partisan underground
fighter in the Ustasha Zagreb; he was killed in 1942 in a plane crash while
transporting film gear to the partisan territory for the filming of partisan
journals. For a long time that was the only known link between Fuis and
film; however, recently a book was published, with his script that has never
been filmed, Zakon rieke, and Daniel Rafaeli}’s accompanying study, which
revealed that Fuis also worked as a script writer, maybe even a director of
Ustasha journals in the Croatian National slikopis 1941-42, whose employees
were acting as double agents, and in 1945 saved all the film equipment
that was eventually used for starting film production in the post-war communist
Yugoslavia. Fuis’s script followed the trail of his emancipated, leftist,
social reportages from the 1920s and 1930s, but was also interesting as
an incredible historical curiosity because, although it was written for the
Nazi state cinematography, it had been structured as a typical socrealist
film, ten years before such films appeared in Croatian culture, although it
was highly unlikely that Fuis knew Soviet socrealism of the 1930s. This
»newly-found« script directs future analysts to look for somewhat different
roots of Croatian socrealism, which should be at least partly founded in
socialist realism, otherwise a strong current in Croatian literature in
between the wars.
Milka Car
Rainer Werner Fassbinder — playwright
and film director
Rainer Werner Fassbinder, 2004, Anarchy in Bavaria,
Zagreb: DAF
UDK :821.112.2-05Fassbinder, R. W
821.112.2-2"196"(049.3)
The article centres around the close conection between filmic and dramatic
elements in the work of film director and playwright Rainer Werner
Fassbinder. Since his drama opus is less known, the stress was placed on his
early plays recently published in Croatian translation. The author observes
what has influenced his poetics, from socially-political circumstances of his
age and the expression of the critical consciousness of his literary role models
that Fassbinder found in the movement of historical avant-garde and
primarily in the reformed folk play of the German speaking territory dating
from the beginning of the 1970s.
CHRONICLE’S CHRONICLE
Marcella Jeli}
Chronicle
Key film-related events in Croatia.
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.
211