34/2003 - HFS

Hrvat. film. ljeto, Zagreb / god 9 (2003), br. 34, str. 221 do 228 Sa`eci / Abstractsnovih modela i koncepata nije ograni~ena samo na Kanadu(npr. rad Erice Russell, Joanne Quinn te Nicka Parka. Kona~no,iz aspekta same animacije, mo`da najva`niji u~inakGriersonova utjecaja unutar razvoja tog medija jest ~injenicada je ve} odavno nemogu}e ignorirati animaciju na na~inkako je to, na primjer, ~inio Siegfried Kracauer u uvodu svojeTeorije filma.Silvestar KolbasAnaliza filmske snimke: Izgubljenizavi~aj Ante BabajeUDK: 778.53:791.44.071.1 Babaja, A.Autor analizira slikovni stil filma Izgubljeni zavi~aj Ante Babaje,pri ~emu uo~ava kontekstualni smisao fotografije tepovezanost re`ijskih i snimateljskih elemenata. Obrazla`etezu o filmskoj slici kao funkciji re`ije te tvrdi da fotografskiparametri i snimateljska rje{enja nisu nezavisne varijable, baremu ovom filmu. Zato se u analizi bavi vi{e re`ijskim aspektimanego samom slikom i snimateljskom tehnikom. Zapa`ajuse diskretan, minimalisti~ki redateljski postupak, kojidaje privid redateljskog nemije{anja u prikazivanu pojavnostte sugerira pozicija neutralnog promatra~a. Autor raspravljao ’naturalisti~koj’ fotografiji, a primijenjeni slikovni pristupnaziva pseudodokumentarnim. Prizori su sadr`ajno, mizanscenskii scenografski reducirani samo na bitno, a prizornaradnja prikazivana je kontinuirano dugim, mirnim i {irokimkadrovima pri ambijentalnim osvjetljenju. Time se razli~itielementi Babajinog pristupa sastaju u istoj to~ki, koja semo`e nazvati realizam.S vizualno-re`ijskog stanovi{ta realisti~ki se pristup ogleda ukadriranju, pokretima kamere te manipuliranju planovima itrajanjem kadrova, odnosno ritmom filma. Sa snimateljskogasu aspekta va`ni tretman svjetla, kompozicija, kolorit,primjena objektiva. No realizam, iako vrlo bitan, nije jedinizastupljeni stvarala~ki princip. U ovom se filmu razabire stilskotrojstvo, koje ~ine realizam i umjereno estetiziranje u slici,a izrazita stilizacija u glazbi i globalnoj kompoziciji filma.No, uza svu va`nost koju pridaje redateljskoj interpretacijifilmske fotografije, autor isti~e bitnu ulogu tada mlada alivrlo profinjena snimatelja Gorana Trbuljaka koji je znaoosjetiti redateljev senzibilitet i jasno vizualizirati njegove zamisli.sell, Joanne Quinn and Nick Park). Finally, from the aspectof animation itself, maybe the most important effect of Grierson’sinfluence within the development of the media is thefact that it hasn’t been possible to ignore animation for aling time, in a way Siegfried Dracauer did in the introductionof his Theory of Film.Silvestar KolbasAnalysis of film shots: The LostHomeland by Ante BabajaUDK: 778.53:791.44.071.1 Babaja, A.The author analyses style of the images of Ante Babaja’s filmThe Lost Homeland, and notices contextual sense of photographyand connection of elements of directing and filming.He explains the thesis on film imagery as a function of directingand claims that photographic parameters and filmingsolutions are not independent variables, at least not in thisfilm. Therefore, he analyses aspects of directing more thanphotography itself and filming technique. A discreet, minimalistdirecting procedures are noticed, but they give theimpression director is not intruding in reality that is shownand suggests the position of a neutral observer. The authordiscusses ’naturalistic’ photography, and calls the imageryapproach ’pseudo documentary’. The scenes are reduced incontent and production design only to what is important,and action is shown in continuous, long, quiet and wide framesat ambient lightning. Thus, the different elements ofBabaja’s approach meet at the same point, which could becalled realism.From the visual-directing point of view, the realistic approachis reflected in framing, movement of the camera andmanipulating the plans and length of frames, or the rhythmof the film. From the point of view of director of photography,the treatment of light, the composition, colourism,and use of lenses are important. But realism, though very essential,is not the only creative principle represented. In thisfilm there is stylistic trinity, made of realism and moderateaestheticizing in image, and prominent stylization in musicand global composition of the film. In spite of the importancehe gives to director’s interpretation of film photography,the author points out the important role of, then young, butvery refined director of photography, Goran Trbuljak, whowas able to perceive the director’s sensibility and visualizehis ideas.228H R V A T S K I F I L M S K I L J E T O P I S 33/2003.