6. 12. 2012.| Akademski filmski centar

 ALTERNATIVE FILM/VIDEO 2012.

Četvrtak / Thursday, 6. decembar

 

17:00 Mala sala / Small Hall

SKRIVENI PARAMETRI MAĐARSKOG FILMA /

THE HIDDEN PARAMETERS OF HUNGARIAN FILM

Amaterski, underground i nezavisni film 60-tih, 70-tih i 80-tih /

Amateur, Underground and Independent Films from the 60's, 70's, and the 80's

Priredio i predstavlja Sebastian Kodolani (edited and presented by Sebestyén Kodolányi)

 

Jazz

László Dudás

2'30

Rose Twist

Gyula Bundics

8'

The Bell

Gyula Bundics

8'

Partita

Miklós Erdély

34'

Dawn Allegro

András Szirtes

6'

Happening

József Hajdú

16'30

1+1 leaden leeches from Bremen

Antal Geszler

6'

Illegal Center

Illegal Center

5'

The Butterfly and the Pig

Dr. Putyi Horváth, János Szirtes, János Vető

4'

Bolshevita

Dr. Putyi Horváth

5'

Hanna and Tarzan

Dr. Putyi Horváth

3'

Astrokarnevál

Georg Pintér

18'

 

 

U Mađarskoj, modernističke, progresivne i eksperimentalne tendencije posleratnih generacija filmskih stvaralaca nisu mogle da budu ustanovljene onoliko lako i komotno kako se to dogodilo u Jugoslaviji u okviru audiovizuelne infrastrukture i mreže organizovane oko Domova kulture i obrazovanja (Kino-klubovi). U Staljinističkoj diktaturi pedesetih godina prošlog veka u Mađarskoj građani nisu mogli da se organizuju u udruženja, asocijacije ili sindikate; pojedinci su čak i bili prinuđeni da predaju svoje kamere i projektore državnim vlastima.

 

Nakon obaranja revolucije iz 1956. godine, nove vlasti, da bi zadobile i kontrolisale intelektualce, stvorile su takozvani "studio", radionice zasnovane na unutrašnjem demokratskom odlučivanju - za mlade profesionalce u raznim domenima umetnosti. Oni su mahom bili locirani u Budimpešti i stoga nije bila izgrađena mreža koja bi pokrivala celu zemlju. Studio Bela Balaža (BBS) koji sam predstavio na prošlogodišnjem izdanju vašeg festivala u okviru retrospektivne selekcije je upravo bio jedan od tih studija.

Već do 1970tih godina u BBS-ovima je došlo do smanjenja profesionalnih ograničenja i oni su postali prave avangardne radionice koje su primale pod svoje okrilje talentovane umetnike i intelektualce iz drugih oblasti i iz "andergraund" kulture. Međutim, s obzirom na njenu hegemonističku poziciju, ona su ostala i bivala elitistički orijentisana mesta; pošto nisu imali interes da stvore mrežu (network), oni su odgovorni donekle za određeni vrstu "odliva mozgova": mladi talentovani ljudi hrlili su u BBS-ove a to nije doprinosilo zdravom razvoju nezavisnih inicijativa. I, da budemo iskreni, BBS-ovi su bili kako u seksualnom tako i u političkom smislu preterano stidljivi ili povučeni, i obazrivi  - možda usled predostrožnosti ili radi samocenzure..

 

Mađarski amaterski film mogao je jedino da se reorganizuje u udruženje (asocijaciju), po modelu predratne Amaterske kinematografske asocijacije, 1966. godine. Dodelili su sebi novo ime (Mađarsko udruženje amaterskog filma) i usvojili su narodski, lokal-patriotski program koji im je bio nametnut od strane državnih službi za kulturu. Mladi talentovani ljudi iz univerzitetskih filmskih klubova bi se ubrzo selili u BBS-ove ili na Filmsku akademiju. No, određeni napori nekih zajednica, grupa i pojedinaca proizveli su neke veoma zanimljive, progresivne rezultate.

 

Usko polje na kome su amateri i nezavisni filmski stvaraoci mogli da napreduju ticalo se tema poput svakodnevnice, erotike, direktnog anti-komunizma, društvene samo-ironije i nekonformizma, tema kao što su one koje ću ja sada pokušati da vam ilustrujem nekim primerima iz kompilacije filmova koju sam pripremio za ovaj program.

 

In Hungary modernist, progressive and experimental tendencies of the postwar generations of filmmakers could not establish themselves as comfortably as it happened in Yugoslavia within an audiovisual infrastructure and network organized around culture houses and education (Kinoclub). In the Stalinist dictatorship of the fifties in Hungary citizens could not organize in associations or unions; individuals were even obliged to surrender their film cameras and projectors.

After striking down the 1956 revolution, the new authority, in order to enlist and control young intellectuals, created so called „studios” – workshops based on inner democratic decision making processes – for young professionals in various domains of art. They were invariably based in Budapest and therefore did not build up a country-wide network. The Balázs Béla Studio (BBS) that I presented in the last year’s edition of the festival with a retrospective compilation, was one of them. By the seventies the BBS dissolved the professional barriers and became a real avant-garde workshop letting in talented artists and intellectuals from other domains and the underground. Still, due to its hegemonic position, it remaned elitist; in lack of an interest in creating a network, it rather generated a certain „brain drain”: talented youth fled to the BBS and that did not favour the healthy development of independent initiatives. And, to be sincere, the BBS both sexially and politically was overly shy or even prude – maybe out of precaution or self-censorship.

Hungarian amateur film could only manage to reorganize itself in an association, on the model of the prewar Amateur Kinematografers’ Association, in 1966. They took a new name (Hungarian Amateur Film Association) and embraced a vernacular, local patriotic program which was forced by the cultural authorities. Talented young people from university filmclubs would soon find themselves in the BBS or in the Film Academy. Still, some community, group and individual efforts produced intriguing, progressive results.

The narrow field on which amateur and independent filmmakers could thrive was the everyday, erotics, direct anti-communism, social self-irony and nonconformism, as I am trying to illustrate with the present compilation. 



Vrste materijala u arhivi: Fotografija, Plakat

Signature: Ft/12/12; Pl/12/12