Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez

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Hrvat. film. ljeto, Zagreb / god 7 (2001), br. 26, str. 177 do 199 Paulus, I.: Ve}inom »nacrtana« glazba @DERI, Zvonimir Lon~ari}, Zagreb film, 1973. DNEVNIK, Nedeljko Dragi}, Zagreb film, 1974. ENCIKLOPEDIJA KRVNIKA, Nikola Majdak, Zagreb film, Dunav film, 1974. EPIDEMIOLOGIJA, Du{an Petri~i}, Zagreb film, 1974. FARSA (CRVENKAPICA II), Zlatko Bourek, Zagreb film, 1974. (ani/lut) HOMO 2, Aleksandar Vukoti}, Vladimir Jutri{a, Zagreb film, 1974. JAJE, Zlatko Grgi}, Zagreb film, 1974. TENIS, Zlatko Grgi}, Zagreb film, 1974. DEZINFEKCIJA, Ante Zaninovi}, Zagreb film, 1975. CIGARA, Zlatko Grgi}, Zagreb film, 1975. SEDAM PLAMENÎ]A, Pavao [talter, Zagreb film, 1975. TRIO, Zlatko Grgi}, Zagreb film, 1975. OUVERTIRE 2021, Milan Blaèkovi}, Zagreb film, 1976. RIBA, Zlatko Grgi}, Zagreb film, 1976. SRE]A, Zlatko Pavlini}, Zagreb film, 1976. [E[IR, Zlatko Grgi}, Zagreb film, 1976. TELEFON, Zlatko Grgi}, Zagreb film, 1976. TRUBA, Zlatko Grgi}, Zagreb film, 1976. U@E, Zlatko Grgi}, Zagreb film, 1976. AMADEUSOVE U[I, Ante Zaninovi}, Zagreb film, 1977. DRAMA OKO CVIJE]A, Ante Zaninovi}, Zagreb film, 1977. GOSTI, Zvonimir Lon~ari}, Zagreb film, 1977. GUSARSKI PROBLEM, Ante Zaninovi}, Zagreb film, 1977. KAKO SU LJUDI OSTALI BEZ MOZGA, Zlatko Pavlini}, Zagreb film, 1977. LAVLJE NEVOLJE, Ante Zaninovi}, Zagreb film, 1977. MAXOL, Boris Kolar, Zagreb film, Windrose Hamburg, 1977. NEMAN FU-FU, Ante Zaninovi}, Zagreb film, 1977. OBLA^NO SA SVA\AVINAMA, Boris Kolar, Zagreb film, 1977. PEPINO CICERONE, Ante Zaninovi}, Zagreb film, 1977. PINGVIN ÂRLI, Boris Kolar, Zagreb film, 1977. STONO@ICA BOSICA, Boris Kolar, Zagreb film, 1977. SVIRKA ZA MIRKA, Boris Kolar, Zagreb film, 1977. VATROGASNA PRIÂ, Ante Zaninovi}, Zagreb film, 1977. VESELI MOST, Boris Kolar, Zagreb film, 1977. Hrvatski filmski ljetopis 26/2001. AMOR SERVICE, Martin Pintari}, Adria film, Zagreb, 1978. MEDVJE\A ROMANCA, Tony Claar, Zagreb film, 1978. POVIJESNA PRIPOVIJEST, Radovan Ivan~evi}, Filmoteka 16, 1978. PROZOR, Mate Lovri}, Zagreb film, 1978. RUÂK, Zlatko Bourek, Zagreb film, 1978. ZAÂRANI PRINC, Zlatko Pavlini}, Zagreb film, SCF, 1978. @ENA BEZ PREDRASUDA, Martin Pintari}, Adria film, 1978. ET CETERA, Ljubica Heidler, Croatia film, 1978. IVICA I MARICA, Pavao [talter, Zagreb film, 1980. KUGINA KU]A, Zlatko Pavlini}, Zagreb film, 1980. ON: U BOLJI @IVOT, Ljubica Heidler, Croatia film, 1980. POSTANAK FEUDALNOG DRU[TVA, Radovan Ivan~evi}, Filmoteka 16, 1980. RIBLJE OKO, Jo{ko Maru{i}, Zagreb film, 1980. VAMPIRIJA, Dragutin Vunak, Croatia film, 1980. DAN KADA SAM PRESTAO PU[ITI, Nedeljko Dragi}, Zagreb film, 1982. PREDSTAVA: ÔVJEK I NJEGOVI LJUBIMCI, Ante Zaninovi}, Zagreb film, 1982. SAN, Rudolf Boro{ak, Zagreb film, 1982. ALBUM, Kre{imir Zimoni}, Zagreb film, 1983. ALLEGRO VIVACE, Zvonko Lon~ari}, Ante Zaninovi}, Zagreb film, 1983. INVENTURA, Martin Pintari}, Adria film, 1984. KU]A BR. 42, Pavao [talter, Zagreb film, 1984. OGLEDALCE, Pavao [talter, Zagreb film, 1985. TRI LUTALICE, Zlatko Pavlini}, Neven Petri~i}, Zagreb film, V. S. Super S. I. Oreste, 1986. CLOWN, Rudolf Boro{ak, Zagreb film, 1987. TEMPO SECONDO, Bert Spijkerman, Mersad Berber, Ante Zaninovi}, Zagreb film, 1987. (igr/ani) ÂROBNJAK, Ante Zaninovi}, Zagreb film, 1987. GENESIS: RO\ENDAN, Rudolf Boro{ak, Zagreb film, 1988. KAP, Dragutin Vunak, Studio Luna film, 1988. POSLJEDNJA STANICA, Pavao [talter, Zagreb film, 1988. ZIMA, Maja û~ek, Studio Luna film, 1988. IGRA PAHULJICA, Jadranka Bau~i}, Zagreb film, 1989. SLIKE IZ SJE]ANJA, Nedeljko Dragi}, Zagreb film, 1989. 199
ABSTRACTS Abstracts on Collaborators UDC: 791.44.071.1(497.5) Dovnikovi} B. 791.43-252(497.5) Petar Krelja Stylistic Coherence of Dovnikovi}’s Opus Borivoj Dovnikovi}-Bordo had quite an interesting and unusual artistic development. He left his native town of Osijek to pursue his dream and become a cartoonist. He began his career in the weekly satiric magazine Kerempuh and this work eventually introduced him into the world of animation through the project The Big Meeting that he worked on as animator and assistant. Ever since he has remained in the world of animation, that is to say, for five decades, with only one interruption when he shortly returned to his first calling — cartoons. Thus he participated in all the evolutionary phases of the Zagreb School of Animated film. For the first eleven years he mostly collaborated on other authors’ projects. Only after many years of practice in animation did he in 1961 come out with his debut film Dolly. Since then until 1995 a number of other works followed creating an impressive author’s opus that certainly made him one the most significant and unavoidable protagonists of the Zagreb School of Animated film. The author of the text chose eleven films — Dolly (1961), Untitled (1964), Curiosity (1966), Krek (1967), Manoeuvres (1971), Second class passenger (1973), J. D. (1976), The School of Walking (1978), One Day in Life (1982), Two Lives (1984), An Exciting Love Story (1989) — which he analyses in order to reveal the basis of Dovnikovi}’s poetics. The author establishes that Dovnikovi} was influenced by Disney, newspaper cartoons and comics, and on these grounds he created his most important works. While refusing to accept that characters are one-dimensional or simple geometric shapes karyokinetically multiplied, Dovnikovi} accepts the functionality of a simplified, only slightly coloured surface. He does not hide the fact that his heroes draw roots from cartoons. Caricature free of sarcasm or bombastic and spectacular gags is a permanent characteristic of his work. His works always include a well-known nice hero of a rather bland appearance, a man from the fringes of society constantly struggling with repressive ’eager’ individuals or some global destructive forces always hovering over him. 200 Hrvatski filmski ljetopis 26/2001. Although the fact that the Zagreb school’s potentials were never fully realized, that some of its authors quickly gave up on animation (Mimica, Bourek, Marks, [talter...), while others died rather young (Grgi}, Kostelac, Vukoti}, Zaninovi}, Vunak) discouraged Borivoj Dovnikovi}, he nevertheless managed to keep his place on the Croatian and world scene of animation — as one of the greatest — owing to his personal vitality and the obvious resilience of his opus that with time became only more impressive and coherent. UDC: 791.43:7.025 791.43:681.3 Mato Kukuljica New Electronic Technologies — Help in the Restoration of Film Material Film art has more than any other art marked the 20th century, however it is in grave danger of being completely lost or destroyed. The data about the destruction of film stock are terrifying. 90% of all the stock from the pioneering period of cinematography (made before 1910) is lost forever, along with 50% of the film stock made after the appearance of sound film (1927) and 50% of all the material made after the replacement of nitrate based film tape with a secure film tape with acetate base (in the period from 1950 till 1954). The efforts of film archivists to restore and preserve the existing material are only partially successful since they are encountering many problems, starting with technological limitations, problems of storage, lack of competent workers and institutions, specialised laboratories and finally, lack of financing. We have to add that each film needs to be restored two, three or four times during the lifetime of an archivist. In the domain of classical film storage, they are trying to produce a more stable film tape and to ensure storage conditions that would prolong the life of film stock for additional 30-50 years, but even such solutions have their limitations. Film technologies and researchers estimate that in the course of next 20-30 years another 50% of presently preserved film stock will be lost forever due to untimely protection of nitrate film footage, the spreading of vinegar syndrome on film material with celluloid base, while a part of film stock will be lost due to colour fading and deterio-
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ISSN 1330-7665 UDK 791.43/.45 Hrvat
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PORTRET AUTORA: BORIVOJ DOVNIKOVI]
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Hrvat. film. ljeto, Zagreb / god 7
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Dakako, nije to sve {to je Dovnikov
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MOSKVA (Goldfish) 1996. (ìri) HIRO
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OGLED IZ NOSTALGIJE Zoran Tadi} Vel
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POLEMIKE / REAGIRANJA Damir Radi} U
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FESTIVALI / PRIREDBE Nikica Gili} B
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Natjecateljski program Hrvat. film.
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FESTIVALI / PRIREDBE Stjepko Teàk
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FESTIVALI / PRIREDBE Rada [e{i} Rot
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REPERTOAR travanj/lipanj 2001. Film
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transformiranje Bullockove iz femin
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prepoznatljiv bez obzira na starosn
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mo}nije od svih zmajeva — Crvene
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akademskoj zajednici u francuskim A
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vrijeme isuvi{e eksponirani Ben Aff
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ODVA@NI KLINCI / RECESS: SCHOOL’S
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njim sudjeluje u plja~ki casina u k
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REKVIJEM ZA SNOVE / REQUIEM FOR A D
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dre|eno razli~itim vizualnim ekstra
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Koncipiran kao komedija apsurda u k
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REPERTOAR travanj/lipanj 2001. Vide
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ma i za~udnim trenucima, a sve to n
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prvom ima i britanskog produkcijsko
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Page 150 and 151: Hrvat. film. ljeto, Zagreb / god 7
Page 152 and 153: STUDIJE I ISTRA@IVANJA Sergej Ivaso
Page 162 and 163: STUDIJE I ISTRA@IVANJA Midhat Ajano
Page 178 and 179: STUDIJE I ISTRA@IVANJA Irena Paulus
Page 196 and 197: Bilje{ke Hrvat. film. ljeto, Zagreb
Page 202 and 203: ation of film emulsion as the two m
Page 204 and 205: All this could also be said of Piot
Page 206 and 207: O suradnicima Midhat Ajanovi} (Sara
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