Editorial

Uvod/Editorial

Uprkos političko-ekonomskoj krizi i brojnim nestancima električne struje, novi broj izlazi tačno na vrijeme! Kao što Béla Tarr kaže, u intervjuu sa Nevenom Matović, da snimanje filma nije samostalni show, nego zajednički rad više ljudi, tako je i Camera Lucida rezultat kolektivnog napora. Zahvaljujući pomoći naših prijatelja, sjajnih medjunarodnih filmskih kritičara, i u ovom broju čitaćete teorijske eseje, intervjue i festivalske izvještaje. Filmska muzika je glavna tema tekstova Ronalda Bergana, Aleksandra Bečanovića, Dragana Lučića i Nemanje Bečanovića. Do sada zanemarene teme, kao što su samoća u biskopu i glumačka profesija, predmet su interesovanja. Andreasa Ströhla i Ronalda Bergana. Pokušali smo i da izadjemo u susret vašim mnogobrojnim zahtjevima za prijevode tekstova, pa ćete u ovom broju naći prijevode (englesko/srpsko-hrvatski) gore-pomenutih tekstova. Dvojezični su i intervjui (italijanski/srpsko-hrvatski) sa Sergiom Asssisijem i Umbertom Moscom, koje je vodila Ivana Mrvaljević.

Retrospektive se fokusiraju na rad Helmuta Kautnera i Luchina Viscontija, u temeljnim analizama Igora Toholja i Ivane Mrvaljević, dok vam festivalski izvještaji otkrivaju nove filmske talente iz bogate filmske selekcije Mons Festivala ljubavnog filma 2012.

Mala educacion, kroz studentske radove, predstavlja omaž italijanskom neorealizmu i francuskom novom valu.

Uživajte u 8. broju Camere Lucide!

Maja Bogojević

In spite of political-economic crisis and numerous power cuts, the new issue is just on time! As Béla Tarr claims, in his interview with Nevena Matovic, that film-making is not a one-man show, but something you work on with other people, Camera Lucida is, similarly, the result of collective endeavour. Thanks to the help of our friends, great international film critics, you will be able to read wonderful theoretical essays, interviews and festival reports. While film music is the focal point in insightful texts by Ronald Bergan, Aleksandar Becanovic, Dragan Lucic and Nemanja Becanovic, neglected or little-tackled topics, such as the solitude in the cinema and film acting, are discussed in the texts by Andreas Ströhl and Ronald Bergan, respectively. In our attempt to meet your numerous demands for the translation of our texts, you will find in this issue the translations (English and Serbo-Croat) of the most of above-mentioned texts. Bilingual (Italian and Serbo-Croat) are also the interviews with Sergio Assisi and Umberto Mosca, by Ivana Mrvaljevic.

The retrospective section focuses on the work of Helmut Käutner and Luchino Visconti as analysed by Igor Toholj and Ivana Mrvaljevic, respectively, while festival reports discover new film talents from the rich film selection of Mons Festival du Film d'amour 2012.

Mala educacion revisits Italian neorealism and French nouvelle vague from the students' perspective.

Enjoy the 8th issue of Camera Lucida!

Maja Bogojevic