Suchergebnisse

Inspiriran radom Erica Santnera (1996, 2011) o političkoj teologiji i kraljeva dva tijela, u ovom radu propitujem političku teologiju filma, tj. kako drugo tijelo kralja, tijelo njegove moći, migrira u novo tijelo, tijelo naroda, te sablasno, u raznim tragovima, prati filmski način proizvodnje koji je obilježio dvadeseto stoljeće. U radu dovodim u imaginarnu vezu dva lika (jedan stvarni, drugi fiktivni) koji na određeni način utjelovljuju to migriranje: (1) sudca Daniela Paula Schrebera (čiji je autobiografski zapis mentalne bolesti, od trenutka kada je objavljen 1903., okupirao pažnju ne samo psihijatara i psihoanalitičara nego i raznih teoretičara), i (2) doktora Caligarija, hipnotizera u filmu Kabinet doktora Caligarija (red. Robert Wiene, 1920.), jednog od najpoznatijih junaka njemačkog ekspresionističkog filma, kako bih analizirao kako njihovi slučajevi utjelovljuju »sublimno rojalističko meso« u nacionalnim fantazmagorijama dvadesetoga stoljeća (koje se sve više vraćaju i u naše vrijeme u doba rastućeg populizma i brojnih teorija zavjere). ; Inspired by the work of Eric Santner (1996, 2011) on political theology and the king's two bodies, in this paper, I question the political theology of film. I analyze how the carnal dimension of sovereignty (or king's second body, the body of his power), migrates into a new body, the body of the people, and in various traces appears in the filmic mode of production that marked the twentieth century. I analyse or instead bring into imaginary connection two characters (one real, the other fictional) who in a way embody this migration: (1) Judge Daniel Paul Schreber (whose autobiographical record of mental illness, from the moment it was published (in 1903), occupied the attention not only of psychiatrists and psychoanalysts but also of various theorists) and (2) Dr. Caligari, a hypnotist in the film The Office of Dr. Caligari (dir. Robert Wiene, 1920), one of the most famous characters of German expressionist film.

U radu se analizira koncepcija etnografskog filma iz rakursa dviju institucija s početka 20. stoljeća: Etnološkog seminara pri Filozofskom fakultetu zagrebačkog Sveučilišta i Škole narodnog zdravlja. Pritom se poseban naglasak u analizi stavlja na etnografičnost filmskih proizvoda dviju različitih institucija koje u svojim filmovima direktno i indirektno reprezentiraju kulturu sela. Raznolika filmska produkcija, nerijetko nekritički svedena pod zajednički nazivnik etnografskog filma, preispitat će se analizom filmskog sadržaja te problematiziranjem naknadnih preispisivanja njihova značenja i recepcije u onodobnom društveno-političkom kontekstu. ; This paper analyses the concept of ethnographic film from the position of two institutions from the beginning of the 20th century: Ethnological Seminar at the Faculty of Humanities and Social Sciences of the University of Zagreb and the School of Public Health. This analysis explains the importance of ethnographic qualities of films made by these two different institutions that (in)directly represent the culture of the village. Diverse film production, very often uncritically brought under the common denominator of ethnographic film, will be reassessed by analysing the content of the film and discussing additional rewritings of their meaning and reception in the social and political context of the time.

Članak razmatra dva filma Haruna Farockija – Ein Bild (1983.) i Nicht löschbares Feuer (1969.) – te ih dovodi u vezu s teorijskim postavkama Mirzoeffove kontrapovijesti vizualnosti i Rancièreovim argumentima koji se tiču emancipiranog gledatelja. Temeljna je teza da eksperimentalna, semantički nejasna ili nedovršena slika može u epistemološkom smislu biti od vrijednosti gledatelju za političko djelovanje. Rad predlaže nazivlje kapitalna slika i kapilarna slika u svrhe ocrtavanja sličnosti i razlika među različitim oblicima proizvodnje slike. Istraživanje se zaključuje uvidom u emancipacijsku snagu filmske slike u trenucima kada se može vidjeti struktura proizvodnje same slike na ekranu. Objelodanjeni rad koji je sadržan u slici postaje rad gledatelja u demistifikaciji homogenosti njezinih značenjskih kodova. ; This paper discusses two films by Harun Farocki – Ein Bild (1983) and Nicht löschbares Feuer (1969) – and relates them to the theoretical arguments of Mirzoeff's counterhistory of visuality and Rancière's emancipated spectator. The main thesis is that experimental, semantically unclear or incomplete image can be of purpose to the spectator in an epistemological sense. The paper suggests the use of notions capital image and capillary image for the purpose of understanding similarities and differences between historically divergent forms of image production. The research concludes by reiterating the possibility of spectatorial emancipation from the dominant image in strategies of showing the structure of production of the image on the screen. The work seen in the image becomes the work of the spectator in trying to demystify the homogeneity of its semantic codes.

Ovaj rad analizira načine na koje se predstavljanje žena promijenilo od partizanki kao revolucionarnih tema, do kućanica i potrošačica u kasnim 60tim godinama. Ova je promjena vezana uz društveno-političke promjene u jugoslavenskom kontekstu i uz napuštanje ideje ženske emancipacije koja je osmišljena i prihvaćena tijekom i nakon rata. Naime, partizanska borba za oslobađanje od nacističke okupacije te socijalistička revolucija dva su temeljna mita Socijalističke Jugoslavije. Žene su igrale aktivne uloge u toj borbi, kao borci ali i daleko od borbenih linija (logistička podrška, špijuniranje, liječenje i dr.). Također, jednakost između muškaraca i žena je bio važan segment službene ideologije države. Ovi su se narativi kasnije i zabilježili u kolektivnoj memoriji kroz književnost, film, glazbu i stripove. U našem radu istražujemo pet načina prikazivanja ženstvenosti u jugoslavenskom filmu: (1) partizanka, (2) žena u pozadini, (3) suradnica, (4) radnica i (5) domaćica, kako bi prikazali načine na koje predstavljanje žena između 1947. i kasnih 60tih korespondira službenoj politici emancipacije te na koji način ovi prikazi korespondiraju svakodnevici tog vremena. Nadalje, ovo predstavlja analizu filma sagledanog kao skup priča koje su jugoslavenski muškarci i žene sami iznosili o sebi. Ovakav pristup ima potencijal ukazati na antagonizme unutar društvenog konteksta u kojem su ovi filmovi nastajali, tako što naglašava nedostižne ideala slobode i emancipacije. Istovremeno, cilj ove analize nije samo otvoriti još jedan vid istraživanja prošlosti, već također ponovno razmotriti emacipacijski potencijal kojeg ovakvo istraživanja pruža danas. ; This paper will analyse ways in which representation of women changed from partisans as revolutionary subjects to housewives and consumers in the late 1960's. This transformation is linked with sociopolitical changes in the Yugoslav context and the abandonment of women's emancipation as it was framed and adopted initially during and after WWII. Namely, the partisan struggle for the liberation from Nazi occupation, as well as the socialist revolution were two foundational myths of Socialist Yugoslavia. Women played an active role in this struggle, both as fighters and through their work behind the lines (as logistical support, spying, nursing, etc.). Likewise, equality between men and women was an important part the country's official ideology. These narratives were later memorialized through literature, cinema, music as well as comic books. In our work, we will explore five tropes of femininity in Yugoslav cinema: (1) the role of the partisan, (2) woman in the background, (3) collaborator, (4) worker and (5) housewife, in order to map out ways in which the representation of women between 1947 and the late 1960's corresponds to official emancipatory politics of the time and how these tropes related with everyday life in this period. Finally, this will lead to an analysis of cinema as a collection of stories Yugoslav women and men told themselves (and others) about themselves.1 This approach has the potential to indicate the antagonisms within the social context in which these films were produced, by highlighting the unattained ideals of freedom and emancipation. Simultaneously, the goal of this analysis is not to merely open up another space for a more complex exploration of the past, but also to reconsider the emancipatory potential this exploration offers us today.

In this paper the author presents and interprets two versions of Coppola's classic Apocalypse Now. The film ending air-strike is the difference between the two versions, the air-strike which disappeared in the latter versions. The author focuses on the "missing" scene and argues that it is fundamental for the coherent interpretation of the movie. He uses Arendt's interpretation of Conrad's Heart of Darkness on which Coppola's film is based and tries to show how Coppola's film unknowingly expresses the concept of radical evil. Kurelic also argues that Kurtz represents an evildoer which is neither demonic nor thoughtless, exactly the type missing in Arendt's confrontation between radical evil and banal evil. The author wants to show how the film made in 1979, which was mainly understood as the film about the Viet Nam war, actually unintentionally represents an apocalyptic warning that the wars based on the clash of cultures and civilizations can produce the same outcome as Arendt's totalitarianism -- radical evil. Adapted from the source document.

Radom se želi razumjeti velika popularnost filma Joker redatelja Toda Filipsa iz 2019. godine. Film i figura Jokera interpretirana je u okviru filozofije, odnosno estetike i politike resantimana. Rad nudi zaključak da film i figura Jokera ponavljaju osjećaj nejednakosti, kao jedno rašireno osjećanje u svijetu, između njegove estetizacije i politizacije. ; Mit der Arbeit will man die große Popularität des Films Joker von Tod Filips aus dem Jahr 2019 verstehen. Der Film und die Figur Joker wird im Rahmen der Philosophie, bzw. Ästhetik und Politik des Ressentiments interpretiert. Die Arbeit bietet den Schluss, dass der Film und die Figur Jokers das Gefühl der Ungleichheit als ein in der Welt verbreitetes Gefühl zwischen seiner Ästhetisierung und Politisierung wiederholen.

Rad obuhvaća pregled redatelja i filmova Novoga Hollywooda te društveno-politički kontekst i mijene u američkome načinu života, koje su prethodile nastanku tzv. blockbustera, odnosno novožanrovskih filmova. U radu će biti riječ o svježem autorskom pristupu žanrovskomu filmu generacije školovanih redatelja koji će u svojim djelima uspješno revalorizirati žanr, a od kojih će nekolicina marketinškom stručnošću osigurati nastavke svojih filmova u (i danas vrlo popularnomu) obliku franšize. Kroz analizu opusa novoholivudskih redatelja mlađe, a dijelom i starije, generacije demonstrirat će se njihov odnos prema društvenim i političkim okolnostima, revitalizacija marginaliziranih žanrova kao i stilska obilježja filmova, poput intertekstualnosti, citatnosti, pastiša, hommagea (posvete) itd. ; The paper includes an overview of New Hollywood directors and their films, as well as the sociopolitical context and changes in the American way of life that preceded the arrival of the so-called blockbusters, i.e. new genre films. The paper will discuss a new approach to the genre film by a generation of educated directors who will successfully renew genre in their works and, in some cases, make sequels in the form of (even today very popular) franchise. The analysis of some works made by a younger and partly older generation will show their relation to social and political circumstances, revitalization of marginalized genres, as well as stylistic features such as: intertextuality, citations, pastiche, homage (dedication), etc.

U članku je analiziran sovjetski pogled na zbivanja u drugoj najvećoj jugoslavenskoj republici tijekom druge polovine 50-ih i prve polovine 60-ih godina. Uzeta je u obzir situacija u Jugoslaviji i međusobni odnosi Beograda i Moskve. Dosad su se povjesničari zanimali prije svega za političku dimenziju međusobnih odnosa i sovjetske ocjene političkoga stanja u Jugoslaviji. Iako su politika i ideologija bile u centru pozornosti sovjetskih diplomata, u članku nisu zanemarena ni kulturna zbivanja u Federativnoj Narodnoj Republici Jugoslaviji (od 1963. Socijalističkoj Federativnoj Republici Jugoslaviji) ni gospodarski položaj zemlje. Ove su dimenzije čvrsto povezivali s političkom sferom te podređivali sovjetskim interesima prema Jugoslaviji. Članak je utemeljen na izvornoj arhivskoj građi prikupljenoj u Moskvi u Ruskom državnom arhivu novije povijesti (Российский государственный архив новейшей истории), u fondu Odjela za veze s komunističkim i radničkim partijama socijalističkih zemalja, koji je odgovarao za odnose sa zemljama komunističkoga uređenja. U radu je korištena i relevantna stručna literatura. ; The Soviet view of Croatia, as well as the situation in Yugoslavia, resulted from Soviet interests, its efforts to draw Yugoslavia into its orbit of influence. Particular reluctance was evident on the realm of ideology and purported Western influence, the effectiveness of which was exaggerated in the Soviet documents. In the political dimension, the Kremlin was interested to which extent directives from the center were implemented at the republican level. The attitudes of local politicians toward the actions of the central authorities were also the matter of interest for Soviets. The fact that Croatia was the second richest republic and its aspiration for greater decision-making were regarded as negative phenomenon. Discussions about the competencies of the republics were depicted as closely tied to the national question, referring to the difficult experiences of the first half of the 20th century. In the economic and cultural sphere, there was particular interest in the possibilities of cooperation and building up one's own influence in the Croatian SR. Despite the negative perception of many phenomena in Yugoslav culture, where a critical stance toward the USSR was expressed in film, literature, and the press, Moscow believed that through the presence of Soviet culture - often such as music and theater - it would be possible to gradually gain approval of the public sphere. The Kremlin's propaganda, however, was not as effective in Yugoslavia-as it was throughout the world-as it was in the West. The Soviets paid more attention to events in the center of the country, although they did not ignore regional events either.

U radu su obrađeni konzervatorsko-restauratorski radovi na portretu Marije Terezije iz prve polovine 18. stoljeća. Slika je pripisana radionici Martina van Meytensa. Tehnika slike je ulje na platnu, a portret prikazuje Mariju Tereziju koja je kao ugarsko-hrvatska i češka kraljica vladala u doba Habsburške Monarhije od 1740. do 1780. godine. U svojoj je vladavini uvela brojne reforme u vanjskoj i unutarnjoj politici. Slika potječe iz ranog razdoblja njezine vladavine, a prikazuje je cijelim stasom u slavljeničkoj brokatnoj odori. Stoji kraj bogato izrezbarenog stola na kojem se nalazi svečano ukrašen jastuk s dvjema položenim krunama austrijskih nadvojvoda. Visina slike je 203 cm, a širina 140 cm. Specifičnost ove slike je da je imala dvije ranije restauratorske intervencije, 1857. i 1993. godine. U donjem desnom kutu slike, u sloju preslika, vidljiva je teško čitljiva signatura koja se najbolje razaznaje uz pomoć makrofotografije, a glasi Mayerwieser renoviert 1857, dok se u dostavljenoj dokumentaciji iz 1993. tumači da se na slici nalazi naziv Meytensen pinxit 1857. kojeg je Mayerwieser potpisao prilikom obnavljanja slike iste godine. Taj nam podatak potvrđuje da je naziv Mayerwieser renoviert 1857. nastao prilikom prve restauracije na slici u izvedbi austrijskog slikara Ferdinanda (?) Mayerwiesera. Tijekom restauracije 2014. godine komisijski je utvrđeno da se taj potpis neće uklanjati radi osjetljivosti slikanog sloja u tom dijelu slike. Signatura u donjem desnom kutu očišćena je samo površinski, stanjivanjem starog požutjelog laka vrlo blagim otapalima. Prilikom istraživačkih radova koja su uključivala tehnička ispitivanja i testove topivosti, zaključeno je da je u ranijim restauratorskim intervencijama uklonjena zelena boja s haljine i tirkizno plava s desnog rukava, a djelomično je uklonjena i tamna pozadina ispod koje se nazire arhitektura i draperija. S obzirom da je bilo potrebno utvrditi područje ostatka laka i preslika kao i sastav punila u prethodnoj intervenciji, pristupilo se dodatnim istraživačkim radovima koji su obuhvaćali IC i UV snimke, stratigrafiju slikanog sloja, probe uklanjanja sloja potamnjelog laka s nečistoćama i preslicima, te probe uklanjanja starih zakita. Stratigrafska analiza presjeka slikanog sloja pokazala je da je slika u restauraciji 1857. godine većim dijelom tonirana tamnom lazurom u čijem je sastavu pronađeno saharidno i proteinsko vezivo. Toniranje je bilo izvedeno bez prethodnog uklanjanja naslaga nečistoće i požutjelog laka. Analize XRF snimaka ostataka zelenog sloja preslika s haljine otkrile su barijevu bijelu i krom oksid zelenu. Ti su pigmenti otkriveni početkom 19. stoljeća što potvrđuje prethodni zaključak o prisutnosti velike količine preslika. Prilikom čišćenja prljavštine i preslika otkrivena je znatno svijetlija pozadina oko lika Marije Terezije. Nakon istraživačkih radova, čišćenja lica i poleđine slike, parcijalno su skinuti umetci platna i platnenih traka s rubova na poleđini slike. Slika je tretirana na toplinskom vakuum stolu radi dodatne konsolidacije i ravnanja. Prilikom tog postupka, spuštene su i blago izdignute krakelire na licu slike. Oštećenja su sanirana novim umetcima ranije prepariranog lanenog platna, iskrojenim prema obliku oštećenja, a pukotine na platnu spajane su pomoću pulveriziranog ljepila toplinskom špatulom. Nakon sanacije oštećenja, slika je s poleđine, kao i novo laneno dublirno platno, tretirana sintetskim ljepilom nakon čega je dublirana na toplinskom vakuum stolu. Nakon tog su postupka sanirana oštećenja u sloju preparacije. Slika je na kraju napeta na novo izrađeni drveni, križni klinasti podokvir. Podlaganje retuša izvedeno je u gvaš tehnici, u svijetlijoj nijansi lokalnog tona. Nakon podlaganja, slika je izolirana lakom. Završni retuš izveden je smolnim lazurama. Osim po svojoj umjetničkoj vrijednosti, slika je specifična i po svojim ranijim restauratorskim intervencijama koje su izazvale mnoge polemike u pronalaženju optimalnih rješenja za predmetnu restauraciju i konzervaciju koja je dovršena 2014. godine. ; This article is about the conservation and restoration carried out on a portrait of Maria Theresa from the 18th century attributed to the workshop of painter Martin van Meytens. The painting is an oil on canvas and portrays Maria Theresa, Hapsburg sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands and Parma. By marriage, she was Duchess of Lorraine, Grand Duchess of Tuscany and Holy Roman Empress. During her rule (1740 – 1780) she introduced a number of reforms in foreign and domestic policies. This painting, painted during the first few years of her rule, shows her whole posture in celebratory brocade robe, as she stands next to a richly carved table with a solemnly decorated cushion and two crowns of the Austrian archduke. The dimensions of the painting are 203 cm x 140 cm (height/width). The painting had undergone two previous restorations, in 1857 and 1993. Based on documentation, an interesting detail was added during the 1993 restoration: in the lower right corner of the painting, in the overpaint layer there is a visible signature Meytensen pinxit 1857 – even though the painter died in 1770. It is therefore assumed that he was signed during the first restoration of the painting in 1857, led by painter Mayerwieser. During the last restoration in 2014, it was concluded that this signature is not correct, the correct one is Mayerwieser renoviert 1857. Because of the fragility of painted layer on this part of the canvas, the signature was cleaned only superficially by thinning of the yellowy varnish with a mild solution. Because of the incomplete and unclear documentation following the 1993 restoration, it was very hard to determinate all of the zones with layers of overpaint and validate the decision to remove them completely or only partially. After the probing it was concluded that the green color from the robe and turquoise color from the right sleeve were both removed during previous restorations. The dark background with visible architecture and drapery was also partially removed. Additional probes, including IC and UV scans, stratigraphy of the painted layer, removal probing of tarnished varnish with impurities and overpaint, were conducted to determine the zones of preserved varnish and overpaint as well as the quality of fill composition in the previous intervention. Stratigraphic cross-sectional analysis showed that during 1857 restoration, the painting was tanned with dark glaze based on saccharides and protein binder. Toning was executed without the removal of dirt, rust and old varnish. Analysis of XRF images of the green overpaint layer from the robe detected barium white and green chromium pigments. These pigments originated in the early 19th century which proves the previous conclusion of a huge overpaint presence. Considerably brighter background behind the image of Maria Theresa was discovered during the removal of impurities and overpaint. After the probing and cleaning of the face of the painting, canvas inserts were partially removed as well as linen strips from the edges on the back of the painting. Inserts from the previous restoration works did not follow the form of damage, they were square in shape and attached with hardened, inadequate glue that was unevenly applied on the original canvas. Linen strips were also inadequately formed so they all had to be removed. The whole back of the painting was mechanically and chemically cleaned, and then strainghtened on the thermal vacuum table. During the procedure, even craquelures on the face of the painting descended. All damage was repaired with prefabricated linen adjusted to the shape of the damage. Inserts in the level of original canvas were fixed with Beva Film and Japanese paper, and the cracks on the canvas were bonded with powdered adhesive applied with heat shrink. After the damage was repaired, both face and the back of the painting were treated with a synthetic adhesive, and fixed on a new canvas doubled on the thermal vacuum table. After doubling and additional straightening, damages in the ground layer were reconstituted with methyl cellulose filler of the appropriate pigment and a smaller amount of acrylic adhesive. During this process, the structure of the canvas was followed. Finally the painting was monuted on the new wooden underframe. Retouche underlying was executed in gouache technique, in a lighter shade of the local tone. After that, the painting was isolated in varnish. The final retouching was executed in resin glaze, and the painting was additionally protected with a combination of glossy and matte lacquer in equal proportions. Except for its artistic value, the painting is unique because of earlier restorations that caused many discussions to try and come up with optimal solutions for the conservation and restoration completed in 2014.