Hrvatski filmski ljetopis, broj 56 (2008) - Hrvatski filmski savez

hfl_56-q6.qxp 2008-12-18 15:22 Page 173
Hrvat. film. ljeto, Zagreb / god 14 (2008), br. 56, str. 167 do 174 Sa`eci / Summaries
dio europskoga i svjetskoga filmskog i kulturnog naslije|a. Bez takvog polazi{ta
u razmatranju problema vrednovanja filmskoga gradiva nemogu}e je
utvrditi vrijednost pojedinog djela ili ve}ih cjelina i to sa stajali{ta pojedinoga
filmskog roda, vrste, autorskog opusa i sli~no. Takav pristup u vrednovanju
filmskoga gradiva nu`an je posebno u radu filmskog arhiva jer je on
precizan i svrhovit i zbog stalne potrebe prosu|ivanja Nacionalne filmske
zbirke radi provo|enja primjerenih mjera za{tite: restauracije, rekonstrukcije
te izradbe zamjenskog izvornog filmskoga gradiva, {to je temeljna zada-
}a svakog nacionalnog filmskog arhiva.
Tatjana Rezec Stibilj
^etrdeset godina Slovenskoga filmskog
arhiva pri Arhivu Republike Slovenije
UDK: 791.53:930.25(497.4)
Povijesni pregled rada i temeljnih djelatnosti Slovenskoga filmskog arhiva,
koji ove godine obilje`ava 40 godina osnutka. Na prostoru biv{e Jugoslavije
nakon 1945. godine isprva je osnovana Jugoslovenska kinoteka u Beogradu,
koja je od 1957. do 1971. imala status savezne ustanove gdje su filmsku
produkciju ~uvala republi~ka filmska poduze}a, pa tako i slovenski Triglav
film. Godine 1968. pri Arhivu Socijalisti~ke Republike Slovenije osnovan
je odjel Slovenski filmski arhiv (u nastavku SFA), specijaliziran za evidentiranje,
skupljanje, odr`avanje i ~uvanje slovenskog filmskog naslije|a.
SNIMATELJSKI PRILOZI
Enes Mid`i}
Mit o prvoj vo`nji kamere i snimci s
mleta~ke gondole
UDK: 778.53(091)
Podatak da je Promio 1896. godine u Veneciji snimio Canal Grande kamerom
iz gondole u vo`nji znat }e spomenuti svaki povjesni~ar filma. No, niti
je prvu filmsku vo`nju izveo Promio, a sasvim je neuvjerljivo da je ta vo`nja
kamere izvedena gondolom. Za prvu je tvrdnju dovoljno prelistati precizne
onodobne ili pak danas a`urirane i sistematizirane kataloge tvrtke Lumière
ili onodobne novinske napise iz Lyona, koji spominju filmske vo`nje datirane
prije Promiove (film koji predstavlja prvu poznatu snimku kamerom u
vo`nji je Panorama pris d'un bateau, kat. br. 130, snimljen 21. rujna 1896.
u Kölnu s parobroda na Rajni). Dokazom druge tvrdnje detaljno se bavi
ovaj tekst, analiziraju}i sa snimateljskog i vizualnog stajali{ta Promiovu
snimku, dokazuju}i (pogotovo s obzirom na visinu pogleda i snimljene
objekte u prolazu, a uzimaju}i u obzir visinu vaporetta i gondole) da je
snimka ura|ena s vaporetta, {to uostalom sugerira i izvorni naslov filma iz
kataloga tvrtke Lumière — Panorama du Grand Canal pris d'un bateau (kat.
br. 295).
Kre{imir Miki}
Portret snimatelja — Robby Müller
UDK: 778.53-051Müller, R.
Prvi iz serije Portreti snimatelja u kojoj }e se obra|ivati neke od najzna~ajnijih
svjetskih snimatelja autor zapo~inje portretom Robyja Müllera, nagla-
{avaju}i njegovu suradnju s redateljima (stil bez stila), pristup kadriranju,
kompoziciji kadra, pokretima kamere, odabiru objektiva, osvjetljenju i drugim
snimateljskim izra`ajnim sredstvima. Posebice se zadr`ava na filmovima
koje je Müller snimio za Wendersa i to onima u crnobijeloj tehnici (primjerice
Tijekom vremena), ali se osvr}e i an filmove Down by Law (J. Jarmusch,
1986) i Korczak (A. Wajda, 1990). Najopse`nije ukazuje na Mrtav
~ovjek (1995) ulaze}i u ra{~lambi na mogu}e specifi~nosti fotografije u Jarmuschevu
filmu poveznice fotografije i filma, mogu}e utjecaje fotografa na
snimatelje. Pritom ukazuje na sli~nosti mjesta doga|anja i motive, ali ujedno
i na stati~nost fotografske snimke za razliku od kadra koji je uvijek dio
monta`nog slijeda. U zaklju~ku autor nagla{ava kako Müllerovo stvarala{-
archival material. Many anthological works of Croatian cinematography
are a cultural good of the highest value; at the same time, Croatian film
heritage is an integral part of European and world film and cultural heritage.
Without such a starting point in considering the problem of film
material evaluation, it would be impossible to determine the value of an
individual piece of art or larger wholes, especially from the standpoint of a
particular film genre, type, author's opus and the like. Such an approach to
film material evaluation is necessary especially in the work of film archives
because it is precise and purposeful. It is an approach required also due to
the permanent need of evaluating the National Film Collection with the
aim of taking adequate protective measures, such as restoration, reconstruction
and the creation of reserve original film materials, which is the
basic task of any national film archive.
Tatjana Rezec Stibilj
Forty years of the Slovene Film Archives
UDK: 791.53:930.25(497.4)
A historical overview of the work and basic activities of the Slovene Film
Archive, which celebrates 40 years of existence. After 1945, in former
Yugoslavia there was first formed a Yugoslav Cinemateque in Belgrade,
which from 1957 to 1971 had the status of a federal institution where all
republican film companies, including the Slovene Triglav film, kept their
film production. In 1968, a department was formed within the Archives of
the Socialist Republic of Slovenia: the Slovene Film Archives (SFA), which
specialised in recording, collecting, maintenance and safeguarding of
Slovene film heritage.
STUDIES IN CINEMATOGRAPHY
Enes Mid`i}
The Myth on the first moving camera
and the shot from a Venetian gondola
UDK: 778.53(091)
That in 1896 Alexandre Promio filmed the Canal Grande in Venice from a
moving gondola is a piece of information every film historian is bound to
know. However, the first moving camera was not an act of Promio and it is
hard to believe that the camera movement device was a gondola. To substantiate
the first statement, all one needs to do is flick through the precise
Lumière catalogues of the time or the updated and systemised ones of
today, or the Lyon newspaper articles of the time that mention moving
camera shots on dates earlier than Promio's (a film representing the first
known moving camera shot is Panorama pris d'un bateau, cat. no. 130, shot
on 21st September 1896 in Cologne from a steamship on the river Rhine).
The second statement is at the centre of this text, as it provides a camera
and visual analysis of Promio's recording, proving (especially with regard to
the height of the view and objects filmed on the way, and taking into consideration
the height of the vaporetto and gondola) that the shot was filmed
from a vaporetto, a point suggested by the original title of the film from the
Lumière company catalogue — Panorama du Grand Canal pris d'un bateau
(cat. no. 295).
Kre{imir Miki}
Portrait of a cinematographer Robby
Müller
UDK: 778.53-051Müller, R.
The author announces a series of texts entitled Portraits of Cinematographers
that shall tackle some of the most prominent world cinematographers.
The series of articles begins with a portrait of Robby Müller, placing
an emphasis on his cooperation with film directors (style without style),
his approach to framing, frame composition, camera movements, choice of
lenses, lighting and other means of expression of a camera. The author
specifically tackles films in which Müller worked with Wenders, the black
and white films (for example Kings of the Road), but he also tackles the
films Down by Law (J. Jarmusch, 1986) and Korczak (A. Wajda, 1990). He
elaborates on the particularity of cinematography in Jarmusch's Dead Man
(1995) indicating possible links between photography and film, influence
173
H R V A T S K I F I L M S K I L J E T O P I S 56/2008.