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Miro Cerar. Festival slovenskega filma je naslednik Maratona slovenskega filma. Zadnji, 6. Socializing the Bull? The Festival of Slovenian Film is a successor to the Marathon of Slovenian Film — the final, 6th edition of which set the foundations for the festival: the Metod Badjura Award was made a lifetime achievement award, and new films were given awards for particular achievements direction, screenplay, etc.
This was the beginning of a successful period for Slovenian cinema. Houston, We Have a Problem! Zato je pisanje uvodnika prisilna zavora, nebodigatreba koristni ukrep za premislek, da korak zastane in pogled lahko zajame celotno festivalsko sliko v nastajanju.
In prav imajo. In k temu stremimo. FSF odgovoren javni kulturni dogodek. Writing an introductory text about the festival programme makes sense once the programme has been shaped. However, when films are selected, this also marks the beginning of the most intense phase of executive preparation: the organisational mechanism has to speed up and it is the festival director who decides its tempo, and to a large extent also its mode.
Writing a foreword is therefore a compulsory brake, a valuable nuisance to make you stop in your tracks and think, and help you see the big picture of the festival in the making. If I may be slightly ironic, the unity of the governing position in terms of programme as well as business management and organisation does little to alleviate the shift from the pre-festival operational frenzy to the festival contents.
However, if there is something to be got from maturity and experience in life, it is the realisation that there is always a positive side to aggravating circumstances, that reasonable effort invariably yields added value. In fact, I have always believed that business performance is at its highest when determined by content. This may be no news to those who selflessly participate in the organisation of a growing number of film festivals. Yet when it comes to festivals celebrating remarkable jubilees, nothing is taken for granted.
If any kind of events, it is the cultural ones that require a great measure of appreciation or admiration for culture, or else they might either be short-lived, or never really come to life at all. A film festival can therefore be of sufficient quality if and only if it grows out of cinema as such, from its subject matter, to put it simply, rather than out of the need to stimulate tourism, to promote someone or their -ism.
Only a festival that has grown out of cinema can contribute as much as possible to the renown of the place where it belongs, or of the people who have dedicated their lives to it. It is therefore my great pleasure. This year we have devoted ourselves to organising the jubilee edition of the FSF with the aim for the festival to remain and grow as the central film event committed to original Slovenian film culture as well as its growing reach and international activity.
To this end, a legal framework was devised carefully by the Slovenian Film Centre with the participation of industry associations to pave the way for professionalism even more clearly, and to ensure even more carefully for awards to be distributed justly. Vesna statuettes have been given a visual makeover and are now waiting eagerly in their crystal brittleness to be embraced by the authors they will be assigned to.
In order for jury members to be able to perform their task thoroughly and not be hindered by the bulk of work, we have finally been able to form two juries, each featuring three carefully chosen members representing various film professions, while also having a balanced composition by age and gender.
The first jury will be seeking the best authors of feature films of all genres, while the second one will be focusing on documentaries of all lengths, co-productions, as well as animations, fiction shorts and achievements of aspiring students from our film academies.
The usual excuse that films are too different, and too diverse in terms of themes and original approaches to be described in short, is exactly what nobody wants to hear from a head of programme of a festival. And they are right. Despite their creative diversity, all titles are the products of the time and place we live in. They wish to communicate something. What they share is serious ambition of their authors: there is no lightness and carelessness to be discerned in the majority of films.
Even rare comical examples are not bereft of an awareness of social reality. The social sensibility and subtle empathy to small antiheroes stranded by major social shifts, nowadays known as tsunamis, which would typically be found in his work, are very much present in feature dramas of new generations.
Be it maternity in unsuitable, even impossible circumstances of the cruel, individualised struggle for survival, unreconciled post-war trauma induced by the loss of the loved ones, or the sheer confrontation with the post-transitional Slovenian reality, there is always empathy, always the emotional involvement of the little man who, almost as a rule, is faced with the coldness and insensitivity of the administrative apparatus — from the nearest social services and police to politics, normally only present indirectly, which adds to dramas the dimensions of a thriller.
What is typical of contemporary film production and should be mentioned, is the increasingly high and interesting production of documentary films of diverse topics. What gives us hope that our documentary films will have a bright future is that their authors only rarely limit themselves to local interest, topical persons and settings, which, however, is a legitimate focus of interest to be found in numerous interesting medium-length films. Camera is led by both the desire to learn about the recent history of our former common country, as well as the restless spirit of discovering faraway Arctic lands or the lives of marginal, even extreme social.
With accessible digital recording devices and the inflation of diverse film production possibilities, the technological development has redefined the role of international and national film festivals.
If at their inception before World War II and in the years that followed up until the s , their role was mostly that of promotion, in the s they positioned themselves clearly and increasingly firmly as an alternative to commercial cinema networks connected into multiplexes.
In the past two decades, there have been two new prevailing dimensions. First of all, any self-respecting festival has an industry programme: alongside now compulsory film markets, festivals have to be integrated actively in the processes of making films, which we are aiming to achieve by organising three expert panels and a co-production meeting.
With all these developments, the head of programme has an increasingly important task as a curator, selecting not only the best of what has been made, but also steering the trends in cinema based on their knowledge as well as their responsibility and aesthetic taste. The latter has proven very much required in Slovenia, since answering the needs for curious vulgarity is not to be mistaken for quality or for successful film un culture.
Festivals have at least as much responsibility, if not also power, as the media. And this is our final aim. It is our goal to make the 20th FSF a responsible public cultural event.
Thanks go to everybody who is helping us pursue our goals. Film je seveda oboje. V Sloveniji, kjer je leta prve ljubiteljske filmske metre posnel odvetnik, dr. Naj gre za razumevanje njenega kulturnega vpliva ali pa njenega obrtnega oziroma profesionalnega zaledja. Eden prvih med njimi je danes starosta slovenske producentske dejavnosti — Franci Zajc.
Producentski opus Francija Zajca je fascinanten. When in the US of A, a. When films are awarded in Europe, the person to collect the award is the director.
It is at this symbolic level that, perhaps, the difference between understanding film as industry on the one hand, and as art or original creation on the other is at its most obvious.
Of course, film is both. Both industry, even one of the strongest ones globally, as well as potentially art. In Slovenia, where in , Dr Karol Grossmann, lawyer, recorded the first amateur images of film stock, we have always found it difficult to understand this duality inherent in film.
In our culture, which due to its limited linguistic scope has always been strongly impacted by literature and theatre, the silver screen remains a bit of an outsider. Both in terms of its cultural impact and its trades or professional background. It is therefore no wonder that the history of Slovenian cinema, which became more comprehensive only after World War II, has been full of ups and downs and calm periods in-between rather than a continuous development with the usual more or less creatively successful stages.
However, the story could have been even more turbulent, had it not featured certain protagonists that were able to handle the complexity, often also contradictoriness, and particularly the material malnutrition of the relationships shaping the fate of Slovenian professional filmmaking. One of the first such people was Franci Zajc — nowadays considered the doyen of producing films in Slovenia.
This year, fifty years have passed since he entered the world of television and film production. The list of films produced by Franci Zajc makes for a fascinating read, whether we consider the sheer range of over a hundred TV and cinema Jury Commentary. Many of them have helped shape and marked not only Slovenian cinema but also culture in general.
At the other end of his career is film rendition of one of the most successful post-independence Slovenian novels, Chefurs Raus! If everything in-between was placed on a single continuous strip of film, it would run around the equator more than ten times. Zajc se je leta zaposlil na takratni Radioteleviziji Ljubljana, ki je bila del jugoslovanske radiotelevizije.
In , Zajc started working at what was then Radiotelevizija Ljubljana, which was part of the Yugoslav National Television. A year later, the evening news was broadcast in Slovenian for the first time, and another four years had to pass before television programmes began to be broadcast in colour. Although it might seem insignificant, these two pieces of information demonstrate both the role of the Ljubljana television at the time as well as its production capacities, to which Franci Zajc soon began to contribute significantly.
Either as project manager or producer, Zajc was first gaining experience by creating culture coverage and reports, even full-length ballet broadcasts and documentaries. This continued until Decameron, a project that left such a strong mark on the determined filmmaker that he decided to dedicate his future career to the production of films.
It was a tough path, and it took half a century. For Zajc, this was his first encounter with producing films for the cinema screen. A year later they also collaborated on the feature film Fear. Under different circumstances and in another national film scene they might have emerged as a noted producer-director duo.
Their final collaboration, Ljubljana the Beloved , followed almost a decade later. Festival slovenskega filma 20th Festival of Slovenian Film. At the turn of the s he assumed the position of executive producer for Culture and Arts at TV Slovenia for seven years, combining editorial offices for drama, youth, music and ballet, entertainment and music, film, and culture programmes. Zajc was thus working on very diverse genres of fiction and documentary programmes.
It was under his direction that the National Television reached the highest standards of TV production in TV dramas, series, serials, and feature films. In terms of finance, productions and human resources, these were challenging and extensive projects.
Already in this early period, Franci Zajc would offer opportunities to young directors seeking to establish themselves. When Zajc left the National Television in and first co-founded — what was then referred to as — Sfinga Permanent Labour Community, followed in by Arsmedia, one of the first independent production companies in Slovenia, his affinity to young directors was only further reinforced.
Based on the experience from his twenty years at the National Television, Zajc became an outstanding connoisseur of film trade, particularly as producer. It is therefore far from surprising that his production company soon made him one of the most prolific as well as the most propulsive Slovenian film producers.
It is also impossible to overlook his co-productions with the National Television, allowing him to continue to participate in the making of documentary and fiction films. V prvi polovici devetdesetih je Zajcu vsem preprekam navkljub uspelo veliko pozornosti nameniti tudi bosanski tragediji ob razpadu Jugoslavije. Nagrade je prejemal tako doma kot v tujini.
Ko slavimo film, vedno slavimo tudi njegove ustvarjalce. Or, in other words: With his experience as well as by founding and running Arsmedia, Zajc was paving the way for the Slovenian post-independence film era, while also remaining its indispensable part. Being a good mentor to younger filmmakers, he enabled numerous students to gain their first experience working on his projects as assistant directors, actors and dramaturges, and also made sure that the history of Arsmedia would not come to an end once his professional career has been over.
In the first half of the s, Zajc was able, despite all obstacles, to pay considerable attention to the Bosnian tragedy accompanying the disintegration of Yugoslavia.
In the 25 years of independent Slovenian cinema, Zajc produced more than 50 film titles — documentaries, feature films, portraits, serials and series. He was awarded both in Slovenia and abroad.
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