kino pod izolskimi zvezdami
Torek, Maj 25th, 2004
Pred več sto obiskovalci na slikovitem Manziolijevem trgu je izolska ??upanja Breda Pečan proti nebu poslala frizbi – leteči otok – in tako svečano otvorila festival. Do nebes frizbi sicer ni prispel, se jim je pa zato pribli??alo vzdu??je v letnem kinu Otok. Vlado ?�kafar, direktor festivala, je pod odrom postrojil festivalsko ekipo, posebno navdu??enje pa je pričakalo umetnike na odru: Iranca Ali Rezo Aminija, Senegalca Mousso Sene Abso, rusko igralko Olgo Oni??enko, Indijca Shajija N. Karuna, cannskega lavreata Apichatponga Weerasethakula iz Tajske in legendo bollywoodske kinematografije Muzaffarja Alija. Dobrim ??eljam ob rojstvu novega festivala so se pridru??ili ??e njegovi botri: slovenski cineast in idejni oče festivala Jan Cvitkovič, direktor innsbru??kega festivala Helmut Groschupp, direktor Slovenske kinoteke Silvan Furlan ter izolska ??upanja. Potem so Nizozemci zagnali kolute in po spokojnih izolskih ulicah so se razlegli popularni bollywoodski napevi iz filma Umrao Jaan.

 

 What, if anything, is common to the films of Eastern Europe, Asia, Africa and Latin America? The first possibility in the search for useful definitions of such films could examine their conditions of production. These are frequently curtailed by economic relations of semi- or underdevelopment that influence the technical, narrative, and genre possibilities of a given film. For instance, East European science fiction or fantasy (think of Tarkovsky’s Stalker and Solaris or the use of classical trick camera in the films of Jan ?�vankmayer) cannot compete with the expensive special effects of Star Wars.
What, if anything, is common to the films of Eastern Europe, Asia, Africa and Latin America? The first possibility in the search for useful definitions of such films could examine their conditions of production. These are frequently curtailed by economic relations of semi- or underdevelopment that influence the technical, narrative, and genre possibilities of a given film. For instance, East European science fiction or fantasy (think of Tarkovsky’s Stalker and Solaris or the use of classical trick camera in the films of Jan ?�vankmayer) cannot compete with the expensive special effects of Star Wars.  




