34/2003 - HFS

Hrvat. film. ljeto, Zagreb / god 9 (2003), br. 34, str. 221 do 228 Sa`eci / Abstractsna, nego i Hegela i Marxa te o usmjerenosti @i`ekova projektaprema razotkrivanju Lacanovih prethodnika u postkartezijanskojfilozofiji. Tako|er je razmotreno pitanje @i`ekovaosvrtanja na Hegela i njegova tuma~enja Hegela kao lakanovcaavant la lettre te kao prvoga postmarksista, {to jetuma~enje koje se sukobljava s gotovo svim postoje}im tuma~enjimaHegela.make not only Lacan, but also Hegel and Marx, more popular,and tells about @i`ek’s project to reveal Lacan’s predecessorsin post-Cartesian philosophy. The question of@i`ek’s remarks on Hegel and his explanation of Hegel as’Lacanian’ avant la letter, and the first post-marxist, whichis contrary to almost all existing explanations of Hegel, isbeing discussed.Nikica Gili}Kinematografija i kulturna politikaUDK: 791.43(497.5)(048)Kako je va`an preduvjet formuliranja kulturne politike preciznoistra`ivanje ’stanja na terenu’, knjiga Hrvoja Turkovi-}a i Vjekoslava Majcena od iznimne je va`nosti, a iza{la je ktome i kod pravoga izdava~a (Ministarstva kulture), i to kao~etvrta knjiga u biblioteci Kulturni razvitak. Kako se o filmui njegovu financiranju u javnosti obi~no razgovara na razinikli{eja i predrasuda, ovaj izniman (sporadi~an) istra`iva~kiprojekt mo`e imati punu dru{tvenu funkciju, jer donosi neumoljivei to~ne ~injenice (o broju kina, filmskih knjiga, otehni~koj opremi, snimljenim filmovima, Kinoteci, godi{-njim ulo`enim sredstvima Ministarstva kulture i Zagreba upodru~je kinematografije...). Javnost }e vjerojatno osobitozaintrigirati Turkovi}eva studija o povijesnim obilje`jima hrvatskekinematografije, u kojoj se poimence progovara o tipi~nimpitanjima (zapravo predrasudama) koja se mogu susrestiu javnim osvrtima na film i kinematografiju, a na te seprobleme nadovezuje i autor prikaza, nagla{avaju}i te`akpolo`aj filma na tr`i{tu te u kontekstu dr`avno sponzoriranekulture, u kojoj vladaju predrasude o filmu i njegovoj cijeni.Primjerice, za kazali{te se izdvaja vi{e nego za film, apremda odjeci u doma}e i strane publike, kritike i festivalskih`irija nisu ni{ta bolji, kazali{te ima ~vr{}u institucionalnoverificiranu poziciju.Nikica Gili}Cinema and cultural policyUDK: 791.43(497.5)(048)Since the research of the ’situation in the field’ is an importantprerequisite for forming cultural policy, the book byHrvoje Turkovi} and Vjekoslav Majcen is extremely important,and additionally it has been published by the suitablepublisher (Ministry of Culture), as the forth book in a bookcollection Cultural development. Since the film and its financingis generally talked about in public on a level ofclichés and prejudice, this extraordinary (and sporadic) researchproject can have a thorough social function becauseit gives relentless and precise facts (the number of cinemas,books about film, technical equipment, films that are made,Film archives, funds invested by the Ministry of Culture andthe City of Zagreb into cinematography...). The public willprobably be particularly intrigued by Turkovi}’s study on historicaltraits of Croatian film making, in which the typicalquestions (or prejudice) that can be seen in public reviewson film an film making are addressed one by one, and theauthor of the analysis follows up with these problems, emphasizinga difficult position the film has on the market andin the context of culture sponsored by the government,where there is a bias against film and its cost. For example,theaters receive more endowments than film, and thoughthe response of national and foreign audiences, critics andfestival juries are not better at all, theatre has a strong institutionallyverified position.TUMA^ENJAElvis Leni}Vizualna slo`enost filma Sretnizajedno Wonga Kar-waijaUDK: 791.44.071.1 Kar-wai, W.791.43(512.317)”1997”Film Sretni zajedno, osebujna pri~a o dvojici ljubavnika kojiiz Hongkonga dolaze u Argentinu, jedan je od najdora|enijihi najdojmljivijih djela u opusu slavnoga hongkon{kog redateljaWonga Kar-waija. U suradnji sa snimateljem ChristopheromDoyleom, Kar-wai izborom vrste fotografije uspijevaizraziti emocionalna stanja svojih likova i podcrtatinjihove karaktere. Zeleni tonovi asociraju na prolaznost,plavi do~aravaju ozra~je tuge, a fotografija `ivih i jarkih bojaINTERPRETATIONSElvis Leni}The visual complexity of the filmHappy together by Wong Kar-waiUDK: 791.44.071.1 Kar-wai, W.791.43(512.317)”1997”The film Happy Together, a peculiar story of two lovers whocome from Hong Kong to Argentina, is one of the mostcomplete and most impressive films in the opus of a famousdirector from Hong Kong, Wong Kar-wai. In cooperationwith director of photography Christopher Doyle, Kar-waimanages to express emotional states of his characters andunderline their personality by his choice of photography.Green tones associate the passing of time; blue ones depict225H R V A T S K I F I L M S K I L J E T O P I S 33/2003.