8MM EKSPERIMENTI KARPA GODINE I DAVORINA MARCA / 8MM EXPERIMENTS BY KARPO GODINA AND DAVORIN MARC

19:00 | Mala sala | Small Theatre  
Autorska prezentacija / Author’s presentation
8MM EKSPERIMENTI KARPA GODINE I DAVORINA MARCA / 

8MM EXPERIMENTS BY KARPO GODINA AND DAVORIN MARC 
Predstavljaju / Presented by Karpo Godina and Davorin Marc

Pes

Karpo Godina, Mario Uršić, Jugoslavija, 1965, Blu-ray (posneto na 8mm), 1.37, čb, 8' (18fps)

Divjad

Karpo Godina, Jure Pervanje, Jugoslavija, 1965, Blu-ray (posneto na 8mm), 1.37, čb, 6' (18fps)

A.P. (Anno Passato)

Karpo Godina, Jugoslavija, 1966, Blu-ray (posneto na 8mm), 1.37, čb, 5' (18fps)

Paura in citta (1191 dni pozneje ali Vonj po podganah)

Davorin Marc, Slovenija (Jugoslavija), 1984, 35mm (posneto na super8mm), 1.37, barvni, 23', bd 

Film za dva / Movie for two, Davorin Marc, 2014, DV video, 16:9, 3:08, Sound

O Slovenačkoj kinoteci

Slovenačka kinoteka (SK) počeja je sa radom 1994. godine, a zvanično priznata od vlade Slovenije 1996., dok je punopravni član FIAF (Međunarodne federacije filmskih arhiva) postala 2012. godine. SK je prvenstveno muzej filma, posvećen promišljanju filma u svim oblicima i načinima, izvan komercijalnih imperativa. SK tretira film kao medij, (istorijski) zapis, umetnost, kulturu (ne nužno popularnu), alatku izražavanja. SK je uključena u programe čuvanja filma, izdavaštva, istraživanja i edukacije. SK je 2009. godine počela rad na svojoj sopstveoj kolekciji filmova, fokusiravši se gotovo poptuno na skrajnute i avangardne filmove u regionu.

O eksperimentalnim filmovima Karpa Godine i Davorina Marca

Karpo Godina, u međunarodnim okvirima verovatno najcenjeniji slovenački reditelj i snimatelj, počeo je karijeru sredinom šezdesetih nizom nezavisno produciranih, kratkih eksperimentalnih filmova na 8mm, uglavnom napravljenih tako da preispituju sve što se u tom trenutku učilo na državnoj akademiji za film. Divjad, Pes i Anno Passato, koji čine samo jedan deo filsmkog niza, prvenstveno su vežbe pokreta: stalnog po/kretanja pogleda, stalnog pokreta ispred pogleda, uobičajenog i neuobičajenog kretanja u raznim pravcima, a sve povezano naizgled nasumičnom montažom i naznakama nekakvih priča punih žudnje. Iz ove perspektive, čini se da kao da je Godina morao proći kroz ovu donekle naivnu, romantičnu, mahnitu fazu, kako bi brzo stigao do onoga po čemu će postati poznat: izvlačenja što više (političke) akcije i dinamike iz minuciozno kadriranih, savršeno statičnih prizora (videti Gratinirani mozak Pupilije Ferkeverk). Pojavivši se deceniju nakon kosmatog hipika Godine, postpanker Davorin Marc još uvek je tema za dalje istraživanje. Nepopravljivi osobenjak sa preko 150 filmova na super-8mm i 16mm, skromno opisuje svoje radove kao „male filmove“, tačka, čime izraz „ublažena izjava“ gura u radikalnom pravcu, do ekstrema.

Njegova Paura in citta, ne samo da pokazuje hrabro i snažno istraživanje forme i tema koje su okupirale Marca tokom njegovog opusa, film je, takođe, jasan dokument, o duhu vremena i kontekstu njegovog stvaranja. 

On Slovenian Cinematheque

Slovenian cinematheque (SC) started its work in 1994, was officially recognized by the Slovenian government in 1996 and became a full member of FIAF in 2012. SC is primarily a film museum, dedicated to think cinema in all possible ways and shapes beyond commercial imperatives. SC treats cinema as a medium, a (historical) record, an art, a (not necessarily popular) culture, a tool of expression. SC is involved in film programming, preservation, publishing, research and education. In 2009 SC started its very own special film collection, focused on the previously almost completely neglected avant-garde cinema from the region.

On Experimental Films by Karpo Godina and Davorin Marc

Karpo Godina, arguably the most internationally acclaimed Slovenian filmmaker and cinematographer, launched his career in the mid-sixtees with a quick succession of independently produced 8mm experimental shorts, predominantly designed to question everything he was being taught at the state film academy at that same time. Divjad, Pes and Anno Passato, only a small part of this succession, are primarily excersises in motion: constant motion of the gaze, constant motion in front of the gaze, motion in all known and unknown directions, all linked together through seemingly random editing and mere hints of lustful stories. In retrospect it seems as if Godina had to go through this somewhat naive, romantic, frantic phase in order to quickly arrive at what he became famous for: extracting as much (political) action and dynamics as possible from meticulously framed, perfectly still images (see Gratinirani mozak Pupilije Ferkeverk). Emerging a decade later after the hairy hippie Godina, the post-punk Davorin Marc is still very, very much a subject for further research. Notoriously reclusive and with over 150 super8mm and 16mm films under his belt, he modestly describes his work as “small films”, period, by doing so pushing the notion of understatement to a radical, bleeding new extreme.

His Paura in citta (1191 dni pozneje or Vonj po podganah) does not only display a bold and powerful exploration of form and themes that seem to have occupied Marc throughout his opus, the film is also a straightforward document of the spirit of the times and surroundings of its making.