Uvod/Editorial     


 

"[Filmski ženski likovi] su žene koje ne samo da su
stvarali
muškarci, nego su i stvorene za muškarce"

Pierre Kast

majaDragi čitaoci,

Novi dupli broj Camere Lucide je realizovan zahvaljujući impresivnim tekstualnim i filmskim intervencijama sve veće mreže renomiranih filmskih kritičara, pisaca i sinefila. Specijalno posvećen pitanjima politike filmske re-prezentacije i konstrukcije raznih (rasnih, etničkih, rodnih itd.) identiteta u filmu, novi broj nudi i osvrt na klasike italijanskog filma, ali i detaljne izvještaje sa filmskih festivala Kana (pronicljive analize Joan Dupont o Radu Mihaileanuovom ratu polova i ženskim autorima sa različitim vizijama), Motovun, Herceg Novi Montenegro, Underhill, Aarhus Nordisk Panorama – 5 gradova i Celle Ligure, Djenova.

Bićete u prilici da otkrijete nove definicije filmske umjetnosti, koje su inspirisane povezivanjem polisemičnog koncepta Maya sa filmskom iluzijom, ili filmskom reprezentacijom "realnog vs. realno", u tekstu Andreasa Ströhla Maya: Her Veil and All Her Raging Beauty; rasističku ideologiju Holivudskog filma i istraživanja o dihotomiji žanrovski vs. autorski film u Ronald Berganovim We Can't Whitewash Hollywood Racist Past i Horror and the Comedy of Genres; filmsko pismo u "prvom licu muške jednine" u tekstu Bogojevićeve o rodnom poroku i rodnoj maškaradi u jugoslovenskom autorskom filmu; naučićete o povezanosti filma sa novim antropološkim konceptom "mithourgy", koji Svetlana Slapšak primjenjuje na Diznijeve animirane filmove u Disney's Snow White and the Seven Dwarves; ili ćete čitati o Plesu političkog subjekta u Dabižinovićinoj ilustraciji performansa kotorskih aktivistkinja. Vraćajući se kultnim figurama italijanskog filma, Aleksandar Bečanović istražuje filmske strategije autora koji su uticali na oblikovanje svjetske filmske scene: Michelangelo Antonioni, Pier Paolo Pazolini and Bernardo Bertolucci.

U novom broju naći ćete i brojne provokativne intervjue, osvrt na studio Cinecitta, fragment iz doktorske disertacije Nikole Vukčevića, Bergmanizam: između intertekstualnosti i pozitivizma, ambiciozne studentske eseje o Almodovarovom jeziku želje u filmu Sve o mojoj majci, i o Neil Jordanovom bijegu od rodnih normi u filmu Doručak na Plutonu, kao i prikaze novo-objavljenih knjiga o filmu, TV i vizuelnoj kulturi. In Memoriam izražava žaljenje zbog gubitka dva filmska simbola: velikog čileanskog autora Raula Ruiza i jedinog podgoričkog bioskopa – Kino Kultura, o čijem je uništenju već pisano u našem prvom broju.

Konačno, u svom novom i najdinamičnijem segmentu, Camera Lucida vam prikazuje svjetsku premijeru smjelih debitantskih kratkih filmova studenata 1. godine, ali i otvara kreativna vrata studenata koji su se, za moj predmet Film i ideologija, usudili ući u svijet imaginarnog i izmislili sopstvene filmove, opisujući kako bi izgledala njihova idealna filmska djela kada bi imali sva zamišljena finansijska sredstva i druge resurse na raspolaganju, i.e. kada ne bi postojala spoljna ograničenja (tipična za filmsku industriju) nametnuta njihovoj mašti i filmskoj percepciji.

Nadamo se da ćete naći svoju Camera Lucida sobu i prepustiti se filmskoj jouissance!

Maja Bogojević

"[Cinematic female characters] are women not only made by men, they are made for men"

Pierre Kast

Dear reader,

Our new double issue is out, thanks to impressive textual and filmic contributions from our ever increasing network of renowned film critics, writers and cinephiles. While the main focus is on the issues of the politics of cinematic re-presentation and the construction of various (racial, ethnic, gender etc.) identities in film and other visual arts, the new Camera Lucida also offers an in-depth revision of Italian cinema classics and comprehensive reports on film festivals of Cannes (with Joan Dupont's insightful analysis of Radu Mihaileanu's battle of sexes and women filmmakers with diverse visions), Motovun, Herceg Novi Montenegro, Underhill, Aarhus Nordisk Panorama – 5 Cities Festival and Celle Ligure, Genoa.

You will be able to discover new definitions of filmmaking, inspired by relating the polysemous concept of Maya to cinematic illusion or the filmic representation of "real vs. real", in Andreas Ströhl's text Maya: Her Veil and All Her Raging Beauty; racist ideology underlying Hollywood cinema and genre vs. auteur film explorations in Ronald Bergan's We Can't Whitewash Hollywood Racist Past and Horror and the Comedy of Genres; cinematic ecriture in "1st person masculine singular" in Bogojević's text on gender sin and gender masquerading in Yugoslav auteur film; learn about the new anthropological concept of "mythourgy" and its relation to film as advanced by Svetlana Slapšak's Disney's Snow White and the Seven Dwarves; or read about the Dance of the Political Subject in Ervina Dabižinović's account of Kotor women's performance. Aleksandar Bečanović returns to the grand figures of Italian cinema and explores various cinematic strategies employed by the authors who have helped change the world film scene: Michelangelo Antonioni, Pier Paolo Pazolini and Bernardo Bertolucci.

There are also numerous thought-provoking interviews, a look back on Cinecitta studio, a fragment from Nikola Vukčević's Ph.D. thesis on Bergmanism: Between Intertextuality and Positivism, elaborate student essays on Almodovar's language of desire in Todo sobre mi madre, and Neil Jordan's escape from gender norms in Breakfast on Pluto, as well as reviews of new published books on cinema and visual culture. In Memoriam laments the loss of two film symbols: Raul Ruiz and the only Podgorica's cinema – Kino Kultura, the destruction of which was foreseen and written on extensively in our inaugural issue.

Last but certainly not least, Camera Lucida, in its innovative twist of the new segment, offers the world premiere projection of 1st year students' daring short film directorial debuts, but also opens the creative doors to the essays of my students who, in the class of Film and ideology, ventured into the world of the imaginary and invented their own films, by writing about what their ideal films would look like if they had all the necessary financial and other resources at their disposal, i.e. if there existed no outside constraints (typical for film industry) to their imagination and film perception.

We hope you will find your own Camera Lucida room and fully enjoy filmic jouissance!

Maja Bogojević

Previous-Page-Icon   01   Next-Page-Icon