Uvod/Editorial
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I dream my paintings and I paint my dream Vincent van Gogh Happy 5th birthday! It has been several months, but we wanted to celebrate our 5th birthday with you, presenting this new long-awaited great 18/20 issue. Camera Lucida published its first issue exactly on the solstice of 21st June 2010, when, in the era of non-stop imagery, information overload and insatiable need for entertainment, it declared its solstice mission "to retain the right to unveil film texts' suture, disclose, elucidate and reveal what filmmakers willingly or unknowingly reveal or conceal". We have survived, in spite of all crises (political, social, financial, ecological, identity, historiographic), but we believe that the most dangerous crisis of all is the crisis of imagination, which we seem to witness today. It hasn't always been easy. We have struggled, we have faced many problems, mainly financial (I am still writing and editing on a 13 year-old computer, often there have been power cuts and internet shortages, we have all worked in poor conditions on many occasions etc.), we haven't received any funding after the first two issues (with a small financial injection, national cultural institutions gave us a reward for our pioneering national endeavor and, perhaps, some hope in national film culture), but we have managed not only to survive but to thrive, whilst all working on a voluntary basis, besides many other jobs we have so that we can help fund our magazine, thanks to the cinephilie of all of us involved - first of all thanks to our dedicated designer Dragan Lucic, then thanks to all of our local and international contributors, and translators (some of them my former students), who have believed in us and in film. We, the Camera Lucida team, hope in return that we have maintained, over the five year period, our uniqueness, reflected in multilingualism, multiculturalism, and visual politics of an open system, a system with cracks that "took the lid off the cage and turned the dark chamber into a camera lucida" and manages to let the light in, thanks to tens of thousands of cinephile readers from around the world who give us their invaluable support and hope in the film as art. In a way, we prove that there is still enthusiasm even in the Balkans. In this great triple issue, we present you with many texts on film for your jouissance, in three languages: English, Serbo-Croat (the language spoken in ex-Yugoslav region; we keep the linguistic, but avoid political denominations) and French. Apart from our usual suspects, Ronald Bergan, Jean-Michel Frodon, Jonathan Rosenbaum, Aleksandar Becanovic, Nevena Matovic, Steven Yates, we welcome our new contributor from Estonia, Tristan Primagi with his revealing piece on Baltic Cinema, and our new-old contributor, Vladan Petkovic, who has come back after a long time with his view on newly imposed censorships at some film festivals. It is impossible to list and describe the depth of all the texts present here. Just read them and you will discover the work of Yuli Solntseva, Jean Renoir's return to France & Moulin Rouge (by Ronald Bergan), Jonathan Rosenbaum's view on Ne change rien and Short cuts, Becanovic's return to the Lumiere's brothers and Plato's cave, Frodon's daily updates on Cannes Film Festival 2015 (including interviews, award preferences and prognoses, with bi-lingual translations from French), Bifest Bari Festival 2015 report, with a focus on Ettore Scola's Una giornata particolare (Maja Bogojevic), new winds blowing on Underhill festival (Miroslav Minic), interviews with Godfrey Reggio, Bertrand Tavernier (Nevena Matovic) and a special homage to Vera Chytilova, by Steven Yates. And many more texts in Mala Educacion and other segments. In memoriam, thanks to Ronald Bergan, pays tribute to Luise Rainer, Anita Ekberg, Albert Maysels, Manoel de Oliveira, Lizabeth Scott, Julie Harris and Elizabeth Wilson. Watch (good) films and don't forget. Maja Bogojevic
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