Hrvat. film. ljeto, Zagreb / god 9 (<strong>2003</strong>), br. <strong>34</strong>, str. 221 do 228 Sa`eci / Abstractskao nevjerojatno vje{tih manipulatora masama. Respektiraoje Lenjina i osobito Trockoga iako nikad nije bio komunist.Grierson je cijeloga `ivota bio uvjereni internacionalist, aliuvijek ~vrsto ukorijenjen u dugu civilizacijsku tradiciju britanskogoto~ja i engleskog jezi~nog oceana. Kao govornik ipisac isticao se razornim polemi~nim darom i iznimnim smislomza analiti~no mi{ljenje. Predavao je redovito, pisao lucidnefilmske kritike; bio je apsolutno prvi koji je po{tovaovestern i gangsterske filmove, odmah je zapazio Hitchcockovtalent, nije imao dvojbi oko Fordove veli~ine i Ejzen{tejnovegenijalnosti. Bio je vrhunski intelektualac koji je intelektsmatrao besmislenim ako nije dru{tveno koristan, a nanjegovim teorijskim i prakti~nim aktivnostima zasnovan jetemeljni koncept onoga {to i dan-danas podrazumijevamopod pojmom dokumentarni film, o ~emu je napisano i objavljenobrdo literature. No, na njegovim teorijskim i prakti~nimaktivnostima zasnovan je temeljni koncept onoga {to jepostao autorski animirani film, o ~emu gotovo ni{ta nije napisanoni objavljeno. Stoga autor ove studije poku{ava osvijetlititu dimenziju njegova rada.U svojim kriti~kim esejima Grierson je izra`avao visok respektza humor, karikaturu, no zapravo je vrlo rijetko govorioo animaciji, a svejedno je, premda gorljiv zastupnik realizmana filmu, u svim institucijama kojima je rukovodioosnivao studije za animaciju u kojima je forsirana individualnai eksperimentalna animacija, {to se mo`e protuma~iti ipogodno{}u animacije za reklamne filmove. S Griersonom jeradio i iznimno va`an eksperimentator i animator s NovogZelanda Len Lye, ve} slavni dokumentarist Flaherty, genijalnianimator Norman Mc Laren i brojni drugi. Autor obja{-njava korijene Griersonove koncepcije realizma, na~ine nakoje se uklapao u razne dru{tvene i politi~ke kontekste (VelikaBritanija, multikulturalna Kanada...) te poetiku i stil animiranihfilmova nastalih u Griersonovoj produkciji. Animacijaje ponajvi{e zahvaljuju}i utjecaju NFB-a i op}enito kanadskeprodukcije postala internacionalni medij, od produkcijskerazine pa do ideja i poruka koje se putem tog medijaprete`no emitiraju. Internacionalizam je imanentan animaciji,a predrasude, rasizam, fa{izam, fundamentalizam,netolerancija i druge bolesti i devijacije suvremenoga svijetanisu nikada stanovali u mediju animacije, {to je svakako dobrimdijelom posljedica ~injenice da se animacija u znatnojmjeri razvijala na osnovi Griersonovih ideja i filozofije. Sasvakom njegovom idejom ne moramo se slagati, mnoge su seod njih uostalom pokazale utopisti~kima i naivnim, ali stajali{teda film ima smisla samo ako zastupa odre|eno stajali{tei propituje dru{tvene okolnosti te traga za slikama koje nesamo da odra`avaju stvarnost vremena u kojem je film nastaonego aktivno utje~u na dru{tvene promjene potvrdilo jevrijednost i unutar animacije, osobito u konceptu animiranogadokumentarca kojim je u animaciji primijenjena Griersonovaformula o kreativnom tretmanu stvarnosti. Taj sekoncept pokazao vrlo plodonosnim kako za kanadsku takoi za, na primjer, britansku animaciju ne samo iz tridesetihgodina pro{log stolje}a, kada se razvijala pod Griersonovimneposrednim vodstvom i utjecajem, ve} i u moderno doba.Veliki uspon britanske animacije tijekom 1980-ih u okriljuprodukcije Channel 4 jasno pokazuje da primjena Griersolotcould be learnt from Hitler and Goebels, as incrediblyskilled mass manipulators. He respected Lenin, and particularlyTrocki, though he was never a communist. Griersonwas an internationalist all his life, but always deeply rootedin a gigantic civilization tradition of the British Isles and theocean of the English language. As a narrator and a writer hedistinguished himself by a destructive polemic gift and anextraordinary sense of analytic thinking. He was a lecturer,he wrote lucid film reviews; he was absolutely the first criticwho respected westerns and gangster movies, he immediatelyspotted Hitchcock’s talent, he did not doubt Ford’sgreatness and Eisenstein’s genius. He was a top intellectualwho considered the intellect meaningless if it wasn’t usefulfor the society, and the basic concept of what we regard asdocumentary film is based on his theoretical and practicalactivities. A lot has been written and published on this topic.A basic concept of what has become a creative animated filmis also based on his theoretical and practical activities, butalmost nothing has been written or published on that topic.So, the author of this study attempts to shed some lightupon this dimension of his work.In his critical essays Grierson expressed respect for humor,caricature, but he rarely spoke about animation, and still,though he was an ardent representative of realism in film, hefounded animation studios in all the institutions he workedfor, where individual and experimental animation was promoted.A very important experimenter and animator formNew Zeland, Len Lye, worked for Grierson, also already famousdocumentary film maker Flaherty, a genius animatorNorman McLaren and many others. The author explainsthe roots of Grierson’s concept of realism, the ways he fittedinto different social and political contexts (Great Britain,multicultural Canada...), and poetics and style of animatedfilms produced by Grierson. Animation has become aninternational media, thanks to the influence of NFB and Canadianproduction in general, form the production level toideas and messages that are usually sent forth through themedia. Internationalism is immanent to animation, and prejudice,racism, fascism, fundamentalism, intolerance and otherdiseases and deviations of a modern world have neverbeen at home in the world of animation, which is to a greaterextent a consequence of the fact that animation has developedon the basis of Grierson’s ideas and philosophy. Wedo not have to agree with all his ideas, most of them wereproved to be utopist or naïve, but his opinion that the filmmakes sense only if it represents a certain point of view, questionssocial circumstances and searches for images that notonly reflect the reality of time in which the film has beenmade, but actively affect social changes, has established itssignificance within animation, especially in the concept ofanimated documentary where Grierson’s formula of creativetreatment of reality has been applied. This concept provedto be very productive for Canadian as well as, for example,British animation not only from the 1930ies, when itwas developing under Grierson immediate management andinfluence, but also in modern time. The great growth of Britishanimation in the 1980ies in the production of Channel4 clearly indicates that the application of Grierson’s modelsan concepts is not limited to Canada only (e. g. Erica Rus-227H R V A T S K I F I L M S K I L J E T O P I S 33/<strong>2003</strong>.
Hrvat. film. ljeto, Zagreb / god 9 (<strong>2003</strong>), br. <strong>34</strong>, str. 221 do 228 Sa`eci / Abstractsnovih modela i koncepata nije ograni~ena samo na Kanadu(npr. rad Erice Russell, Joanne Quinn te Nicka Parka. Kona~no,iz aspekta same animacije, mo`da najva`niji u~inakGriersonova utjecaja unutar razvoja tog medija jest ~injenicada je ve} odavno nemogu}e ignorirati animaciju na na~inkako je to, na primjer, ~inio Siegfried Kracauer u uvodu svojeTeorije filma.Silvestar KolbasAnaliza filmske snimke: Izgubljenizavi~aj Ante BabajeUDK: 778.53:791.44.071.1 Babaja, A.Autor analizira slikovni stil filma Izgubljeni zavi~aj Ante Babaje,pri ~emu uo~ava kontekstualni smisao fotografije tepovezanost re`ijskih i snimateljskih elemenata. Obrazla`etezu o filmskoj slici kao funkciji re`ije te tvrdi da fotografskiparametri i snimateljska rje{enja nisu nezavisne varijable, baremu ovom filmu. Zato se u analizi bavi vi{e re`ijskim aspektimanego samom slikom i snimateljskom tehnikom. Zapa`ajuse diskretan, minimalisti~ki redateljski postupak, kojidaje privid redateljskog nemije{anja u prikazivanu pojavnostte sugerira pozicija neutralnog promatra~a. Autor raspravljao ’naturalisti~koj’ fotografiji, a primijenjeni slikovni pristupnaziva pseudodokumentarnim. Prizori su sadr`ajno, mizanscenskii scenografski reducirani samo na bitno, a prizornaradnja prikazivana je kontinuirano dugim, mirnim i {irokimkadrovima pri ambijentalnim osvjetljenju. Time se razli~itielementi Babajinog pristupa sastaju u istoj to~ki, koja semo`e nazvati realizam.S vizualno-re`ijskog stanovi{ta realisti~ki se pristup ogleda ukadriranju, pokretima kamere te manipuliranju planovima itrajanjem kadrova, odnosno ritmom filma. Sa snimateljskogasu aspekta va`ni tretman svjetla, kompozicija, kolorit,primjena objektiva. No realizam, iako vrlo bitan, nije jedinizastupljeni stvarala~ki princip. U ovom se filmu razabire stilskotrojstvo, koje ~ine realizam i umjereno estetiziranje u slici,a izrazita stilizacija u glazbi i globalnoj kompoziciji filma.No, uza svu va`nost koju pridaje redateljskoj interpretacijifilmske fotografije, autor isti~e bitnu ulogu tada mlada alivrlo profinjena snimatelja Gorana Trbuljaka koji je znaoosjetiti redateljev senzibilitet i jasno vizualizirati njegove zamisli.sell, Joanne Quinn and Nick Park). Finally, from the aspectof animation itself, maybe the most important effect of Grierson’sinfluence within the development of the media is thefact that it hasn’t been possible to ignore animation for aling time, in a way Siegfried Dracauer did in the introductionof his Theory of Film.Silvestar KolbasAnalysis of film shots: The LostHomeland by Ante BabajaUDK: 778.53:791.44.071.1 Babaja, A.The author analyses style of the images of Ante Babaja’s filmThe Lost Homeland, and notices contextual sense of photographyand connection of elements of directing and filming.He explains the thesis on film imagery as a function of directingand claims that photographic parameters and filmingsolutions are not independent variables, at least not in thisfilm. Therefore, he analyses aspects of directing more thanphotography itself and filming technique. A discreet, minimalistdirecting procedures are noticed, but they give theimpression director is not intruding in reality that is shownand suggests the position of a neutral observer. The authordiscusses ’naturalistic’ photography, and calls the imageryapproach ’pseudo documentary’. The scenes are reduced incontent and production design only to what is important,and action is shown in continuous, long, quiet and wide framesat ambient lightning. Thus, the different elements ofBabaja’s approach meet at the same point, which could becalled realism.From the visual-directing point of view, the realistic approachis reflected in framing, movement of the camera andmanipulating the plans and length of frames, or the rhythmof the film. From the point of view of director of photography,the treatment of light, the composition, colourism,and use of lenses are important. But realism, though very essential,is not the only creative principle represented. In thisfilm there is stylistic trinity, made of realism and moderateaestheticizing in image, and prominent stylization in musicand global composition of the film. In spite of the importancehe gives to director’s interpretation of film photography,the author points out the important role of, then young, butvery refined director of photography, Goran Trbuljak, whowas able to perceive the director’s sensibility and visualizehis ideas.228H R V A T S K I F I L M S K I L J E T O P I S 33/<strong>2003</strong>.
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PORTRET: FADIL HAD@I]Vjeran Pavlini
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LJETOPISOV LJETOPISMarcella Jeli}Kr
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LJETOPISOV LJETOPISBibliografijaKnj
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FESTIVALIKatarina Mari}Na granicama
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IVICA I MARICAHansel & GretelSAD, 2
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DJEVOJKA NA MOSTULa Fille sur le po
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U POVODU KNJIGA@eljka Matija{evi}@i
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