OD FILMA KA VIDEU / FROM FILM TO VIDEO
17:00 | Mala sala | Small Theatre
Retrospektiva / Retrospective
OD FILMA KA VIDEU / FROM FILM TO VIDEO
Beogradski filmski autori susreću video / Belgrade film authors meets video
Uvodna reč / Introduction by Miodrag Milošević
Bojan Jovanović, TELEVIZOR JE BIOSKOP U KOJI ODLAZIM SEDEĆI U DVORIŠTU, 1974, 8 mm, 5:00
Ivan Kaljević, DRUŠTVO ZA ZAŠTITU ŠAŠAVIH DOGAĐAJA, 1975, Super 8 mm 24:00
Ljubomir Šimunić, GERDY, ZLOČESTA VJEŠTICA, 1976, 8 mm, 10:00
Radoslav Vladić, TAJNA I MELANHOLIJA ULICE, 1978, 16 mm, 8:00
Miodrag Milošević, POSLEDNJI TANGO U PARIZU, 1983, 16 mm, 20 min (Ver. 6:00 min)
Bojan Jovanović, PRIZORI KOJI SU POJELI SEBE, 1984, 16 mm, 13:00
Dejan Vlaisavljević, MADE IN JUGOSLAVIJA, 1986, Super 8 mm, 15:00
Miloje Radaković, RAY CHARLES U BIOSKOPU, 1987, U-matic, 10:00
Ukupno 91 min
Video tehnologija (mogućnost snimanja i reprodukovanja video sadržaja) postala je dostupna u Jugoslaviji sredinom sedamdesetih godina. Mogućnost trenutnog beleženja i reprodukcije slike i zvuka bilo je vezano za skupu i nedostupnu tehnologiju pa su prvi video radovi nastali na opremi koju su strani umetnici donosili u Jugoslaviju prilikom svojih gostovanja (u Srbiji Džek Mur /Jack Moore/, grupa Video Heads iz Pariza na Aprilskim susretima u SKC-u u Beogradu 1975. godine) ili na video kolonijama kakve su bile u Motovunu 1976. godine i Brdu u Istri 1977. godine a koje su organizovale likovne galerije. I dok je interesovanje likovnih umetnika bilo okrenuto upotrebi TV ekrana i videa u okviru instalacija kao i za snimanje performansa, filmski autori su bili zainteresovani za medij televizije i TV ekran kao objekat koji su inkorporirali u svoje filmove. Tako su se autori kao Jovanović ili Saveski bavili kritikom medija, Kaljević se dramaturški poigravao „prozorom u svet“, Šimunić i Vlaisavljević su bili zainteresovani za vizuelni i narativni sadržaj informacija, Vladić za TV kao predmet otuđenja a Milošević i Jovanović su medij koristili za procesuiranje informacija. Lakoću rada koji je doneo video iskoristio je Miloje Radaković za svoj video-film/rad Rej Čarls u bioskopu.
Jedna nova generacija filmskih autora predvođena bardom filma i videa, Mihailom Ristićem - Igor Toholj, Dejan Vlaisavljević NIKT, Dragan V. Ignjatović ... istraživaće osamdesetih godina prošlog veka, specifičnosti medija i njihove bliskosti, potpuno ih inkorporirajući u svoje eksperimentalne video-filmove.
Miodrag Milošević
Video technology (the possibility to record and reproduce video content) became available in Yugoslavia in the mid-1970s. The possibility to immediately record and reproduce image and sound was connected to the expensive and unavailable technology, therefore the first video works were made by using the equipment that foreign artists brought to Yugoslavia during their visits (Jack Moore in Serbia, Video Heads group from Paris at 1975 April Meetings in SKC, Belgrade), or at the video colonies such as Motovun (1976) or Brdo in Istria (1977), organized by the galleries for visual arts. And while visual artists were interested in the usage of the TV-screen and video as parts of installations or the means to record performances, filmmakers were only interested in the television media and screen as an object they could incorporate in their movies. So the authors such as Jovanović or Saveski turned towards criticizing media, Kaljević played around with the dramaturgy of “the window to the world,” Šimunić and Vlaisavljević were interested in the visual and narrative content of information, Vladić for TV as a tool of alienation, while Milošević and Jovanović used the media to process information. The easy going approach that video had brought was used by Miloje Radaković for his video-film/work Ray Charles in the Movies.
A whole new generation of filmmakers in the 1980s, led by the bard of film and video – Mihail Ristić (Igor Toholj, Dejan Vlaisavljević NIKT, Dragan V. Ignjatović…), started exploring the specificity of the media and their relations, complete incorporating them in their experimental video-films.