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photoAko se o nečemu može pisati ili razmišljati, može se i snimiti

Stanley Kubrick

Dugo očekivani dvobroj 29-30 počinje sa fantastičnim lucidnim esejom Jonathana Rosenbauma, Moje bioskopsko iskustvo 1968: jedno istraživanje, koji predstavlja ne samo hronologiju njegovih filmskih ukusa i preferenci tog vremena, već i dragocjenu hroniku jedne epohe, detaljne analize filmova, bioskopa, filmskih časopisa (njihova pojava i nestanak) i vodeće trendove filmske teorije i kritike.

"[Godardovi] novi filmovi," zaključio sam, "su istovremeno istraživanja o lekcijama kako gledati, slušati i razumjeti našu svakodnevnu egzistenciju. Bez obzira na to kako im se konačno sudi, neodgovorno je nazivati ih frivolnim; mnogo je frivolnija kritička inteligencija koja odbija da ih razumije"

Njegov opis osjećanja o odlascima u bioskope 1960-ih sličan je opisu mojih osjećanja sada u društvu tima Camere Lucide: "pogled na konzumerističku satiru i primarne boje Tashlina u Bertoluccijevoj mašini za pranje učinilo je da se osjećam kao privilegovani član novog tajnog društva međunarodnih sinefila"

Jean-Michel Frodon donosi nove temeljne analize o filmovima: Smrt u Sarajevu, Danisa Tanovića, Geumul Kim ki Duka, Ana, mon amour Calin Peter Netzera pojašnjava sve nedoumice o Christopher Nolanovom kontroverznom filmu Dunkirk. Sve ove fascninatne eseje prevela je Nina Bukilić za regionalne čitaoce.

U bogatoj rubrici Lucidno, čitaćete još tekstova Jonathana Rosenbauma: novi pogled na Godardov Film Socijalizam, Tarov Turinski konj, Paradjanovu umjetnost, knjige o Godardu, i dinamičnu diskusiju o Godardu (opet) i Robert Bressonu.

Rubrika Festivali sadrži ekskluzivne izvještaje Sarajevo Film festival i Venecije, gdje ćete otkriti sve što je potrebno da znate o najnovijim regionalnim i međunarodnim filmskim trendovima (uključujući i najave za nominacije Oskara), novim filmovima na koje treba obratiti pažnju i velikim produkcijama koje treba izbjegavati.

Rubrika Intervjui donosi sjajne intevjue sa fascinantnim filmskim figurama: sa Amos Gitaiom razgovara Joan Dupont, sa Ivanom Passerom Ronald Bergan (Passer: "interesovalo me je ovdje zato što u zemlji slobode – za mene koji je došao iz ograničene slobode – postoje ljudi koji dobrovoljno odbacuju svoju slobodu i postanu robovi droga. To me je fasciniralo. Svakako, pomislio sam, lako je snimati filmove u SADu. Kasnije sam otkrio sasvim suprotno") i Janom Harlanom, u razgovoru sa mnom.

Mala educacion, u svijetlu nedavnog Holivudskog skandala, slučaj "seksualnih uznemiravanja Weinsteina" i kulture tišine (da bi se sačuvala moć) korporativne industrije zabave, ponavlja ranije objavljenu magistarsku tezu Anite Erak, jedne od mojih najboljih studenata: "Drugi pol" od Snežane do Meride – konstrukcija rodnih stereotipa i uticaj na mlađu populaciju u Crnoj Gori.

In memoriam daje počast Alexei Batalovu, i Jean Rochefortu, koje potpisuje Ronald Bergan, Herveu Le Roux Jean-Michel Frodona, Ljubiši Samardžiću-Smokiju, u potpisu Mirjane Maje Popović, novog člana tima Camere Lucide.

Maja Bogojević

 

If it can be written, or thought, it can be filmed

Stanley Kubrick

This long-awaited double issue 29-30 starts with an elucidating essay My filmgoing in 1968: an exploration, by Jonathan Rosenbaum, which reveals not onlya chronology of his film preferences of the time, but a valuable chronicle of an era, a detailed account of films, cinema theatres, film magazines (their appearance and disappearance) and the leading trends of film theory and critique.

"[Godard's] most recent films," I concluded, "are simultaneously investigations into and lessons about how to see, hear and understand our everyday existence. Regardless of how one ultimately judges them, it is irresponsible to call them frivolous; far more frivolous is the critical intelligence which refuses to grapple with them."

His description of his feelings of the 1960's movie-experiences is similar to my feelings now about the company of Camera Lucida team: "discerning the consumerist satire and primary colors of Tashlin in Bertolucci's washing machine sequence, made me feel like a privileged member of a new secret society of international cinephiles."

Jean-Michel Frodon provides illuminating analyses of DanisTanovic's Death in Sarajevo, Kim kiDuk's Geumul, Calin Peter Netzer's Ana, mon amour, and sets the record straight about Christopher Nolan's controversial Dunkirk. These fascinating essays have been translated by Nina Bukilić for the regional readers.

In our rich Lucid column, you will further read Jonathan Rosenbaum's fresh takes on Godard's Film Socialisme, Tar's Turin Horse, the art of Paradjanov, books on Godard, and a vibrant discussion on Godard (again) and Robert Bresson.

The Interviews section brings amazing interviews with three outstanding film figures: with Amos Gitai in Joan Dupont's interview, Ivan Passer talks to Ronald Bergan (Passer: "It interested me because here in the country of freedom – for me who came from a country of restricted freedom – there are these people who voluntarily give their freedom away, and are enslaved by drugs. That fascinated me. Anyway, I thought to myself, it's easy to make films in the US. Later I found out the opposite.") and with Jan Harlan.

Festivals section contains exclusive festival reports from Sarajevo FF and Venice,where you can discover all you need to know about the latest regional and international film trends (including the harbingers for Oscar nominations), new films to watch out for and big productions to avoid.

Mala educacion, in the light of the latest Hollywood Weinstein sex harassments scandal and the culture of silence (to keep the powerful positions) of corporate entertainment industry, fittinglyrepeats previously published MA thesis by Anita Erak, one of my brightest students: "Drugi pol" od Snežane do Meride –konstrukcija rodnih stereotipa i uticaj na mlađu populaciju u Crnoj Gori (Second sex from Snowhite to Merida – construction of gender stereotypes and the impact on youth in Montenegro).

In memoriam pays tribute to Alexei Batalov, Jean Rochefort, by Ronald Bergan, to Herve Le Roux by Jean-Michel Frodon, and to Ljubiša Samardžić-Smoki, by Mirjana Maja Popović, the new contributor of Camera Lucida community.


Maja Bogojević

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