Kino-klub iNVISIBLE predstavlja Njeno zgodbo
Filmski program pod imenom Njena zgodba na festivalu Rdeče zore
ne predstavlja le ženskih umetnic - temveč tudi ženske s katerimi se
je umetnost predstavila. Tako nismo zbrali le filmov režiserk, temveč
tudi filme o ženskah in dekletih.
Ženska - Njena zgodba - se lahko razkrije ali skozi svojo posrednost
- režijo, ki
jo je potisnila v ozadje ali skozi svojo neposrednost - podobo na platnu.
Prav za slednje, nepozabne portrete žensk, pa so bili mnogokrat zaslužni
tudi moški, ki so jih uspeli konstruirati z neizmerno natančnostjo.
Zato ženske tu ne definiramo kot spola, temveč kot konstrukt govorice,
v tem primeru filmske.
Program je razdeljen na dva dela. V prvem predstavljamo kratke filme
režiserk
in režiserjev, ki so se uvrstili v tekmovalni program velikega festivala
kratkega
filma v Clermont-Ferrandu, Franciji. Tja do 40 min dolgi filmi, različnih
vsebin in
dolžin, žanrov in zgodb, ki se vse prepletajo okrog Nje. Zgodbe
so vzklile v različnih okoljih sveta kot npr. v: Mehiki, Nemčiji, na
Portugalskem, Venezueli, Avstraliji, bile zunaj njih različno sprejete
ter na filmskih festivalih mnogokrat nagrajene.
Z drugim delom programa se vračamo v preteklost, v leto 1954, ko je
bil posnet eden sijajnejših celovečernih filmov zgodnje jugoslovanske
filmske produkcije in bil desetletje kasneje tudi označen za najboljši
film desetletja. Tistega leta je Vladimir Pogačič posnel film po zgodbi
Ive Andrića, Anikina vremena, ki je po
besedah nekega bosanskega novinarja edini tipični sarajevski roman.
Naslov je ohranil, kot pa je običajno v navadi, zgodbi ni sledil po
pricakovanjih. Z drugačno govorico je sprevrgel celoten pomen ženske
v filmu, kar je kasneje v domačih literarnih in filmskih krogih sprožilo
polemike, v tujini pa val pohval
in uspeh. V nadaljevanju sledi podrobnejša analiza filma. Avtorica Svetlana
Slapšak, moja profesorica, mi ga je tudi predstavila in to tako, da
sem že takrat vedela, da je edino ona lahko tista, ki bi filmu vrnila
sij, če se bo kdaj pojavil na kakšnem festivalu. Skozi njeno kontekstualizacijo
film Anikina vremena po desetletjih pozabe spet zažari kot si
zasluži.
Hvala sledečim: Delta video (Preza) in Avala Film, Svetlana
Slapšak, Katja
Pratschke, Alejandro Lubezki, Miguel Angel Ortega, Reyther Ortega, Gisela
Stamm, Liz Watts, Goncalo Luz in Sreten (Creativa).
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Cine-Club iNVISIBLE presents: HerStory
The Red Sunrises Festival's film programme under the name HerStory
does not present only woman artists, but also women, which presented
art. The selection is therefore not limited to films directed by women,
but includes also films about women and girls. The woman - HerStory
- can reveal herself either indirectly, through her role as the director,
which shifts her into the background, or directly - as an image on the
screen. These latter, unforgettable portraits of women, were frequently
created by men, who were able to construct them with incredible accuracy.
The woman is hereby not defined in terms of gender, rather as a construct
of the (cinematographic) discourse.
The programme is divided into two sections. In the first section we
present short films by both male and female directors, that were in
competition at the Clermont-Ferrand festival of short film in France.
Up to 40 minutes in length, of various topics, genres, lengths and stories,
all revolving around Her. The stories emerged in different surroundings
around the world - Mexico, Germany, Portugal, Venezuela, Australia -
were received differently outside their country of origin and have been
recognised and awarded at many film festivals.
The second part of the programme takes us back in time, to 1954, when
one of the most extraordinary feature films of the early Yugoslav cinematography
was made, a film later heralded as the film of the decade. This was
the year when Vladimir Pogacic made a film based on Ivo Andric's novel
The Times of Anika, the novel one
Bosnian journalist pronounced as the quintessential Sarajevo novel.
Pogacic kept the title, but unsurprisingly, he did not follow the literary
source to the letter. Utilising visual means he subverted the image
of the female protagonist; a move, which became quite controversial
in the domestic literary and film circles, while gaining critical acclaim
abroad.
In the following pages you can read a detailed analysis of the film
by Svetlana Slapšak. The author, a professor of mine, was the one that
first introduced me to the film; and I knew back then that if The
Times of Anika were ever to be screened at a film festival, she
was the only one capable of restoring the film's lustre. Her contextualisation
of the film re-establishes it's long neglected, yet well deserved eclat.
I wish to thank: Delta video (Preza) and Avala Film, Svetlana
Slapšak, Katja
Pratschke, Alejandro Lubezki, Miguel Angel Ortega, Reyther Ortega, Gisela
Stamm, Liz Watts, Goncalo Luz and Sreten (Creativa).
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