11. 12. 2016.| Akademski filmski centar

ALTERNATIVE FILM/VIDEO 2016

Festival novog filma i videa /

Festival of New Film and Video

Beograd / Belgrade, 7-11. decembar 2016.

 

 

11.12. | Nedelja | Sunday

17.00 | Mala sala | Small Theatre 

Retrospektiva / Retrospective

NE/PRIKAZANE: EKSPERIMENTATORICE U JUGOSLAVENSKOM ALTERNATIVNOM FILMU /

DIS/APPEARANCES: WOMEN'S EXPERIMENTAL FILM IN YUGOSLAVIA

Predstavlja / Presented by

Petra Belc

 

Putositnice, Tatjana Ivančić, 1976., 5'

Četvorodimenzionalna kuća, Mirjana Božin, 1982., 9'

Grad u izlogu, Tatjana Ivančić, 1969, 5'

Rok, Divna Jovanović, 1960., 2'20''

Žemsko, Dunja Ivanišević, 1968., 6'

Igra, Sunčica Jergović, 1982., 2'

Rondo, Divna Jovanović, 1963., 3'50''

Ekvinocij, Tatjana Ivančić, 1973, 4’20

Erna, Erna Banovac, 1963., 2'30

Pieta, Biljana Belić, 1970., 4'

Diabl, Zorica Kijevčanin, 1988., 10'

Do posljednje kapi, Tatjana Ivančić, 1972., 3'

Preobražaj, Divna Jovanović, 1973., 3'

 

Ne/Prikazane: eksperimentatorice u jugoslavenskom alternativnom filmu

 

Povijest eksperimentalnog filma pisana je pod hegemonijom narativnog igranog filma s jedne i "divova" filmske avangarde s druge strane, a takva je dvostruka veza u patrijarhalnoj i tržišno usmjerenoj kulturi autoricama osigurala gotovo potpunu nevidljivost. Snažna scena jugoslavenskog kinoklupskog filma često se pritom spominje kao rasadnik najznačajnijih redatelja "jugoslavenskog filmskog iskustva", i nerijetko se zaboravlja na činjenicu da je sam amaterski film u to vrijeme lavirao između potrage za izrazom u granicama naracije i pravila žanra, i probijanja puta do vlastite rodne samostalnosti — eksperimentalnog filma. Sličan su problem imale i autorice koje su svoje filmske eksperimente ostvarivale u onodobnim kinoklupskim okvirima, a uz praktične stvaralačke prepreke njihovi su radovi danas gotovo nepoznati. Pišući o američkim filmskim eksperimentatoricama, Jean Petrolle i Virginia Wexman precizno su stoga istaknule da "mnogi kritičari često zanemaruju ili podcjenjuju ova djela djelomično zbog toga što ženski eksperimentalni filmovi učestalo revidiraju same paradigme unutar kojih je ova filmska tradicija bila promatrana" (2005).

 

Ne/Prikazane treća je projekcija u nizu (sad već putujućeg) programa koji je nastao kao pokušaj objedinjavanja dostupnih filmova jugoslavenskih autorica koje su stvarale u periodu između 1960. i 1980. godine. Filmovi iz programa nastajali su uglavnom u okvirima kinoklubova i ostali su velikim dijelom nevidljivi suvremenim domaćim i stranim kustosima koji su počeli objedinjavati ovo polje u muzejskom kontekstu. U programu s kojim je ova nenamjeravana mini-turneja započela, "Drugačije/ Isto/ Oboje/ Nijedno",[1] filmovi su bili podijeljeni u četiri tematske cjeline: animacija/ slikanje na vrpci/ rotoskopija, konceptualni film, strukture i teksture svakodnevice te izvedba/ tijelo/ partnerstvo. Nevidljiva strujanja bila su pokušaj doživljajno-filmski fluidnije programske cjeline uz uvođenje novih filmova koji bi osvijetili moguće zajedničke provodne niti prikupljenih filmova, dok Ne/Prikazane — uz nekoliko izmijenjenih naslova — svoje značenje velikim dijelom nastoji crpiti iz samog imena programa.

 

Filmovi u programu heterogeno su tkivo radova autorica različitih poetika i estetika, različitih razdoblja, medija i proizvodnih uvjeta. Neke od njih radile su na cjelovitim opusima koje nikada nisu dovršile, neke su napravile svega nekoliko filmova, dok je o pojedinim autoricama teško naći bilo kakav tekstualni zapis. Dio je filmova izgubljen, neki su ovdje zalutali sretnom greškom, a mnogi dostupni filmovi nisu restaurirani i postoje samo u obliku preglednih kopija. No unatoč ovim nedostacima i istraživačkim preprekama čini se da okupljeni filmovi hrabro provociraju postojeći kanon jugoslavenskog eksperimentalnog filma. Čine to napadajući ga temama kojima se rijetko bavio (na takav način): svakodnevicom, majčinstvom, seksualnošću i vlastitim vizijama ritma, teksture, cirkularnosti i tišine.

 

[1]Naslov programa bio je preuzet iz eseja Paula Arthura "Different/Same/Both/Neither — The Polycentric Cinema of Joyce Wieland" (2007) jer dobro opisuje i heterogenost filmova u programu.

 

DIS/APPEARANCES: WOMEN'S EXPERIMENTAL FILM IN YUGOSLAVIA

 

The history of experimental cinema had been written under the hegemony of the narrative films on the one hand, and 'giants' of the avant-garde cinema on the other – this double connection of the patriarchal and market-oriented culture ensured almost complete invisibility of the women auteurs. The strong Yugoslav cine-club scene is often mentioned as the blossoming garden of the most important directors of the 'Yugoslav Film Experience,' while it is often forgotten that the amateur film itself levitated between the pursuit for the expression between the limits of narration and the rules of the genre, breaking the waves to reach its own independence – what we now know as experimental film. Similar problem was faced by the women authors who were experimenting in cine-clubs of the time – in addition to their practical artistic obstacles their works have become almost unknown. When they write about women experimental filmmakers, Jean Petrolle and Virginia Wexman underline precisely that "many critics often undermine or underestimate these works partly because women's experimental films frequently revise the very paradigms inside of which this film tradition was perceived".

 

Dis/Appearances is the third screening of (now a travelling) program created as an attempt to gather available films made by the Yugoslav women authors active in the period from 1960 to 1980. Films in the program were created mainly in cine-clubs and for the most part stayed unseen by the domestic and foreign curators interested in the field. In this program, that without intention became a mini-tour, Different/Same/Both/Neither[1] films were divided in four thematic selections: animation/drawn-on-film/rotoscoping, conceptual film, structures and textures of everyday life, and performance/body/partnership. Invisible currents was an attempt to create a more fluid film program experience by introducing new films that could shine a light to possible common denominators of the collected films, while Dis/Appearances – with few changes in the program – most of its meaning takes from the very name of the program.

 

Films in the program make a heterogeneous web of works by women authors with different poetics and esthetics, who worked in various periods, media and production conditions. Some of them had worked on their oeuvres that remained uncompleted; some made just a couple of films, while on some of them it's really hard to find any written traces. Some of the films are lost, some made it here by a lucky mistake, and many of the films are available but not restored. Yet, in spite of all these flaws and obstacles, the films collected in the program seem to provoke the canon of Yugoslav experimental cinema with courage. They do that by attacking it with themes rarely found inside its frames (or at least not in that kind of way): everyday life, motherhood, sexuality and their own visions of rhythm, texture, circularity and silence.

 

[1] The title of the program was taken from an essay by Paul Arthur "Different/Same/Both/Neither — The Polycentric Cinema of Joyce Wieland" (2007) because it fits as an excellent description of the heterogeneity of the films in the program.