34/2003 - HFS

Hrvat. film. ljeto, Zagreb / god 9 (2003), br. 34, str. 221 do 228 Sa`eci / Abstractsprati dijelove koji obiluju energijom i `ivotnim poletom.Osim fotografije, redatelj veliku pozornost obra}a postupcimamonta`e, kao i kadrovima u kojima ubrzanim ili usporenimkretanjem nagla{ava trenutna du{evna stanja likova.Wong Kar-waijev pristup svjedo~i o redatelju iznimno definiranakreativnog svjetonazora. Njegovo djelo odre|eno jevizualnom naracijom, vizualnim putem do~arava se ozra~jepojedinih scena i ocrtavaju karakteri te emocionalna stanjafilmskih likova. Njegovi filmski svjetovi stvaraju se slikama,a ne rije~ima.the atmosphere of sadness, and photography with brightand intense colours follows parts which are abundant withenergy and liveliness. Except photography, the director paysparticular attention to editing, as well as to the frames inwhich the present emotional states of the characters accentuatedby motion faster or slower than usual. Wong Karwai’sapproach testifies of a director with an exceptionallydefined creative point of view. His work is defined by visualnarration, the atmosphere of certain scenes; character’spersonalities and their emotional conditions are created in avisual manner. His film world is made by pictures, not bywords.Marijan KrivakMurnau — jedna njema~ka’simfonija sjete’UDK: 791.44.071.1 Murnau, F. W.791.43(430)(091)Friedrich Wilhelm Murnau, uz Pabsta i Langa, sigurno jenajva`niji autor nijemoga razdoblja klasi~noga njema~kogafilma. Istodobno metafizi~ar i pjesnik, stilisti~ki ekspresionisti bolno suptilan realist — Murnau svojim opusom stojina razme|i ekspresionizma i nove stvarnosnosti (Neue Sachlichkeit),izme|u ’komornog filma’ i ’filma ulice’. Ozra~jetih filmova ponaj~e{}e je stra{no, odnosno stravi~no, kakovizualno tako i tamnim porivima protagonista, kako stra{-nim pri~ama tako i primjerenom scenografijom. Sjeta je motivkoji dominantno obilje`uje toga autora. Nakon niza njema~kihremek-djela (Nosferatu, Posljednji ~ovjek...), u ameri~kojfazi karijere snima i Zoru, kojom na neki na~in prejudiciracivilizaciju u kojoj `ivimo, u kojoj povr{na digitalnakomunikativnost zatomljuje bilo kakvu potrebu istinskogaljudskog dodira i bliskosti.Marijan KrivakMurnau — A German ’symphonyof melancholy’UDK: 791.44.071.1 Murnau, F. W.791.43(430)(091)Friedrich Wilhelm Murnau, together with Pabst and Lang,is surely the most important author of German classic silentfilms. A metaphysician and a poet at the same time, stylisticexpressionist and painfully subtle realist — Murnau and hiswork are at the borderline between expressionism and newreality (Neue Sachlichkeit), between the ’chamber-like film’and ’film of the street’. The atmosphere of these films is oftenhorrible, or horrifying, both visually and through thedark inspiration of the protagonists, both through a terrifyingstory and appropriate production design. The melancholyis however, the motif which is a dominant sign of thisauthor. After a number of German master pieces (Nosferatu,The Last Man...), in the American phase of his career hemade the film Dawn in which he in a way anticipates our civilization,in which a superficial digital communication eradicatesthe need for true human touch and intimacy.STUDIJE I ISTRA@IVANJAMidhat Ajanovi} AjanJohn Grierson i animirani filmUDK: 791.44.071 Grierson, J.791.43-252(71)791.43-92(410)Vjerojatno najve}a utopija u povijesti filma National FilmBoard of Canada ostvarenje je sna vjerojatno najve}ega utopistafilma Johna Griersona. Ni{ta na svijetu nije vi{e mrziood birokracije, sastanaka i sjedenja u uredu, a ipak je `ivotproveo na politi~kim i organizacijskim funkcijama. Provodioje svoje ideje s ledenom odlu~no{}u i ~eli~nim uvjerenjemu njihovu ispravnost. U isto vrijeme optu`ivan je za diktatorskina~in rada, ali i bio obo`avan od doslovce svakoga s kimje ikada sura|ivao. Me|u ljudima koji su radili filmove uGriersonovoj produkciji nalaze se neki od najgenijalnijihumjetnika medija filma. Bio je pobornik demokracije koji jesmatrao da se {to{ta mo`e nau~iti od Hitlera i Goebbelsa226STUDIES AND RESEARCHESMidhat Ajanovi} AjanJohn Grierson and animated filmUDK: 791.44.071 Grierson, J.791.43-252(71)791.43-92(410)Most probably the greatest utopia in the history of film,National Film Board of Canada, is a realization of a dreamof probably the greatest utopist of film, John Grierson. Therewas nothing in the world that he hated more than bureaucracy,meetings and sitting in an office, and still he spenthis life holding political and organizational office. He implementedhis ideas with icy determination and strong belief intheir rightness. He was accused of being a dictator, but atthe same time adored by literally everybody he had everworked with. Among the people who made films producedby Grierson, we can find some of the most brilliant film artists.He was an advocate of democracy who thought that aH R V A T S K I F I L M S K I L J E T O P I S 33/2003.