TEHNOLOGIJA NARODU! TEHNOLOGIJA NARODU!...kao da su mediji filma i televizije doslovce preskočili sa analogne na digitalnu tehnologiju ponevši sa sobom celokupan prtljag svojih istorija,

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TEHNOLOGIJA NARODU! TECHNOLOGY TO THE PEOPLE! FILM I VIDEO U VOJVODINIFILM AND VIDEO IN VOJVODINA

TEHNOLOGIJA NARODU! TECHNOLOGY TO THE PEOPLE! FILM I VIDEO U VOJVODINIFILM AND VIDEO IN VOJVODINA

Novi Sad, 2017.MSUV.ORG

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Tehnologija narodu! Film i video u VojvodiniTechnology to the People! Film and Video in Vojvodina

19.02–14.04.2013.Muzej savremene umetnosti VojvodineMuseum of Contemporary Art VojvodinaDunavska 37, Novi Sad

Autori koncepcije izložbe i kustosi / Authors of the exhibition concept and curatorsAleksandar Davić, Gordana Nikolić

Dizajnerka izložbe / Exhibition DesignerMirjana Dušić-Lazić

Producent / ProducerJovan Jakšić

Menadžer multimedije / Multimedia ManagerMarko Ercegović

Tehnička podrška / Technical SupportPajica Dejanović, Đorđe Popić

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Film je u svojoj, više od jednog veka dugačkoj, istoriji prevalio dugačak put popločan tehnološkim inovacijama koje su ga do druge decenije XXI veka postupno, ali neminovno uvele u svet digitalnih medija. Taj put bez povratka prožet je čestim osvrtanjima i pitanjima šta se menja, a šta ostaje isto. Već sada je izvesno da će digitalne tehnologije pre kraja ove decenije u potpunosti istisnuti celuloidni film iz tehnološkog lanca koji vodi od kamere do projekcionog aparata. Film, ili bolje rečeno tehnologija pokretnih slika, je usred izuzetno dinamične tehnološke revolucije, čije posledice su sveobuhvatne i odnose se, kako na proces proizvodnje pokretnih slika tako i na načine distribucije i prezentacije. Nasuprot tome, sadržaj i forma u kojoj se taj sadržaj prezentuje slede logiku svoje evolucije koja, svakako, koristi tehničke inovacije, ali se u mnogo većoj meri razvija nezavisno i pre svega pod uticajem kreativnih umova koji tehniku koriste za stvaranje pokretnih slika. Ako se koncentrišemo isključivo na ono što gledamo preko svojih ekrana utisak neprekinutog kontinuiteta je dominantan. Deluje kao da su mediji filma i televizije doslovce preskočili sa analogne na digitalnu tehnologiju ponevši sa sobom celokupan prtljag svojih istorija, konvencija i poetika. Termin pokretne slike, koji je prvobitno korišćen kao sinonim za film, sada se vraća u upotrebu sa proširenim značenjem i osim filma obuhvata i sve televizijske forme, odnosno svako korišćenje dvodimenzionalnog ekrana za projektovanje pokretnih slika sa zvukom ili bez njega.

Medij pokretnih slika prisutan je na teritoriji Vojvodine od novembra 1896. godine, kada je izvesni g. M. Kovač iz Budimpešte u pozorištu L. Dunđerskoga u Novom Sadu priredio veštačku predstavu pomoću aparata za projekciju.

Aleksandar Davić

FILM U VOJVODINI

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Najveći deo istorije medija pokretnih slika u Vojvodini odnosi se isključivo na film i kinematografiju jer je tek sredinom sedamdesetih otpočela sa radom Televizija Novi Sad, a ubrzo potom preuzela apsolutnu dominaciju u stvaranju i prezentaciji pokretnih slika. Teritorija Vojvodine je od kraja XIX veka do danas bila deo različitih država i položaj, najpre kinematografije, a potom i televizije, nije odudarao od šireg konteksta koji je važio za tu vrstu delatnosti u tim državama. Kada je generalna situacija bila nepovoljna to je svakako važilo i za Vojvodinu, a isti je slučaj i sa povoljnijim periodima, računajući tu i najuspešniji period kinematografije SFRJ krajem šezdesetih, u kojem značajno poglavlje pripada filmu Želimira Žilnika Rani radovi, dobitniku nagrade Zlatni medved na Berlinalu 1969. godine.

U doba kada se film pojavio Vojvodina je bila deo Austrougarske. Gospodin Kovač iz Budimpešte je svakako jedan od mnogih vlasnika putujućih bioskopa koji su krajem XIX i početkom XX veka u većim mestima Vojvodine priređivali bioskopske predstave pokušavajući da profitiraju na najnovijoj atrakciji, poslednjem čudu tehnike. Uslovi za razvoj kinematografije u Vojvodini razlikovali su se od uslova u velikim urbanim centrima Habzburške monarhije – Beču, Budimpešti i Pragu. Nije čudno da su se pioniri filma Aleksandar Lifka i Ernest Bošnjak bavili distribucijom i prikazivanjem filmova, a imali su i svoje bioskope. Obojici je egzistencija bila vezana za film, a od prikazivanja filmova do kupovine filmske kamere, kako bi se filmovi i pravili, samo je jedan korak. Bošnjakov film iz 1912. godine Otkrivanje spomenika Ferencu Rakociju, gledano iz današnje perspektive, zanimljiv je kao dragocen istorijski dokument, ali isto tako i kao trajan spomenik jednom hrabrom i po svemu uspešnom pokušaju da se novi medij koristi za dokumentovanje lokalnih sadržaja. Spisak izgubljenih filmova, o kojima postoji trag u novinama tog vremena, mnogo je duži od spiska sačuvanih filmova. Filmovi Vladimira Totovića, sina imućnog novosadskog trgovca, takođe su izgubljeni. To važi kako za dva naslova koje je potpisao kao reditelj, tako i za filmove u kojima je u Budimpešti i Beču glumio. Ambicioznog i preduzimljivog mladića, koji nije doživeo dvadesetu, pokretala je isključivo želja da postane „film-artist“ i snima filmove. Svoj treći film, zlokobnog naslova,

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Mrtvački klub, Totović nije ni započeo. Mobilizacija i pogibija na italijanskom frontu 1917. godine učlanila ga je u višemilionski klub žrtava Prvog svetskog rata. Sudeći po pokušajima da neposredno pred rat otvori filmski studio, najpre bezuspešno u Somboru, a potom i u Novom Sadu, Ernest Bošnjak je takođe imao ambiciju da se proizvodnjom filmova bavi kao primarnom delatnošću. Te planove osujetio je početak rata, ali uporni Somborac će u rodnom gradu 1923. ipak pokrenuti producentsku kuću „Boer film“.

Ako za kraj pionirskog perioda filma u Vojvodini uzmemo godinu 1918. i pokušamo da sagledamo dostignuća tog perioda, možemo sa sigurnošću zaključiti da je film, zahvaljujući putujućim bioskopima, veoma brzo stigao u vojvođanske krajeve, te da su otvaranjem stalnih bioskopa u većim mestima postavljene osnove buduće bioskopske mreže. Trideset stalnih bioskopa, od kojih je deset otvoreno za vreme rata, pokazuje da je publika prihvatila film i da se uprkos ratnim vremenima tržište povećavalo. Štampa je redovno najavljivala bioskopske projekcije, a sa člankom novinara Žarka Ognjanovića „O bioskopu“, objavljenom u novosadskom Braniku oktobra 1910, počinje i kritičko pisanje o filmu. Nasuprot tome, lokalna produkcija nikada nije prerasla okvire individualnih pokušaja trojice pionira da se kontinuirano bave proizvodnjom filmova, bez obzira na njihov ogromni entuzijazam. Premalo je sačuvanog materijala da bismo mogli sa sigurnošću suditi o njima kao filmskim stvaraocima. U slučaju Totovića to je gotovo nemoguće, jer je primarni izvor izgubljen i jedini tragovi njegove delatnosti su nekoliko novinskih članaka i privatna prepiska sa bratom. Iz jednog od pisama, u kojem svom bratu Jovanu Totoviću poverava detalje svog budućeg filma, vidimo da je veoma vodio računa o tome „šta očekuje današnja publika“. Iz teksta pisma je jasno da je želeo da pravi komercijalne akcione filmove začinjene misterioznim zločinačkim tajnim društvima, možda baš nalik na serijal Pauci koji je neposredno posle rata proslavio Frica Langa kao reditelja. Filmove slične tematike nemačke produkcije verovatno je i mogao da gleda u novosadskom bioskopu „Apolo“, pa bi takav uticaj bio sasvim prirodan. Sa koliko rediteljske veštine i znanja je pravio svoje filmove ostaće tajna sve dok se u nekoj arhivi ne pronađe kopija njegovog filma

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Detektiv kao lopov iz 1915. godine. Igrani filmovi su daleko zahvalniji za analizu rediteljskog postupka od dokumentarnih snimaka, ali ni Bošnjakov prvenac U carstvu Terpsihore, u kome koristi igračice čiju je igru aranžirao za potrebe snimanja, nije sačuvan. Isti slučaj je i sa dva filma Aleksandra Lifke, Veličanstvo novac i Raspoloženi kovači. Ovaj drugi je navodno ozvučavan pomoću gramofonskih ploča, ali ni o jednom ni o drugom filmu nema nikakvih drugih podataka. Gledano u širem kontekstu, vidimo da je film u Evropi, Americi i Japanu pred Prvi svetski rat odavno prestao da bude pionirska delatnost i postao ozbiljna industrija koja donosi značajne prihode i zapošljava veliki broj različitih filmskih struka. Skok na taj nivo produkcije nije se desio u Vojvodini, a neće se desiti ni u narednom periodu kada Vojvodina postaje deo Kraljevine Jugoslavije.

Zastoj u ekspanziji filma, koji je u Evropi bio uzrokovan ratom, nije važio za Ameriku. Tamo su se u samo nekoliko godina dogodile stvari čije će posledice imati uticaj na razvoj filma u celom svetu. Rođenje nacije Dejvida Grifita iz 1915. će, uz do tada nezapamćen komercijalni uspeh, trajno promeniti filmski izraz. Filmovi su postali duži, kompleksniji i samim tim teži za realizaciju. Prihvatanjem analitičke naracije kao dominantne konvencije narativnog filma montažer prestaje da bude tehničko lice čiji je jedini zadatak da spoji niz scena snimljenih u jednom kadru i postaje umetnik sa daleko većim uticajem na krajnji rezultat – film. Već u godinama pred rat filmski studiji se postupno sele u Kaliforniju. Taj proces je završen u roku od nekoliko godina, a spajanjem manjih studija u veće kompanije tokom dvadesetih godina prošlog veka formiraju se veliki holivudski studiji koji će u posleratnim godinama pokrenuti agresivnu ekspanziju na inostrana tržišta. Njihov jedini ozbiljan konkurent je nemačka UFA, koja je takođe nastala spajanjem više manjih studija, ali u ovom slučaju uz obilatu pomoć nemačke države, industrije i banaka.

U Kraljevini SHS, kasnije Kraljevini Jugoslaviji, filmska proizvodnja nije finansijski podržavana od strane države jer je smatrana za isključivo komercijalnu delatnost. To je delimično razumljivo jer je za dobar deo javnosti film još uvek bio vašarska atrakcija koja nema umetničku vrednost. Daleko manje je jasno zašto,

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za razliku od nekih drugih zemalja, pa i same Nemačke u kojoj je kompanija UFA niz godina imala gotovo monopolski položaj na domaćem tržištu, u novonastaloj kraljevini nije postojala zaštita domaćeg tržišta. Zakon o uređenju prometa filmova iz 1931. godine je, doduše, uključivao odredbu koja je bioskope obavezivala da 15% repertoara mora biti sastavljeno od domaćih filmova, ali je ta odredba ukinuta 1933. i zato nije imala trajnijeg uticaja na izuzetno nepovoljno okruženje domaće kinematografije. Nevelikom bioskopskom mrežom su suvereno vladali strani filmovi, pre svega američki i nemački. U sudaru „Paramaunta“ i nemačke UFA, sa jedne strane, i somborskog „Boer filma“ Ernesta Bošnjaka ili „Titan filma“ Danila Jakšića iz Starog Bečeja, sa druge strane, veoma je lako pogoditi ko je izvukao deblji kraj. Ako se u periodu pre 1910. godine položaj Aleksandra Lifke i Ernesta Bošnjaka kao vlasnikâ bioskopa u Subotici i Somboru nije suštinski razlikovao od nekog vlasnika niklodeona sa druge strane Atlantskog okeana, samo deset godina kasnije situacija je temeljno drugačija. Američke zanatlije i sitni trgovci, koji su pred Prvi svetski rat pokušavali da zarade laki dolar na bioskopima čiji se broj uvećavao nezapamćenom brzinom, su – u slučaju da su preživeli tržišnu utakmicu – postajali šefovi velikih holivudskih studija čiji filmovi se prikazuju i donose zaradu na globalnom tržištu. U takvim uslovima Lifka osniva deoničarsko preduzeće „Orijent film d. d. – trgovina za proizvađanje, nabavljanje i posuđivanje filmova, aparata za instaliranje kina, mašinske i tehničke robe“. Iako je tokom dvadesetih snimio nekoliko dokumentarnih filmova o različitim javnim skupovima, njegove aktivnosti su se ubrzo svele na prodaju elektrotehničkog materijala. Dokumentarni filmovi koje je povremeno snimao u tom periodu ne pokazuju neku posebno ambicioznu rediteljsku koncepciju, izuzev namere da se događaj zabeleži na filmu. Ernest Bošnjak sa daleko većim ambicijama i elanom osniva preduzeće „Boer film“ 1923. u Somboru. On iz Budimpešte dovodi reditelja i snimatelja i snima Probne snimke Prve jugoslovenske tvornice filmova. Zanimljivo je da je taj film jedini u celosti sačuvan, a „Boer film“ je do prestanka rada 1926. godine snimio još tri kratka igrana filma i jedan reklamni animirani. Kasnije je povremeno snimao dokumentarne filmove sportske i religiozne tematike, ali mu to očigledno nije bila glavna profesionalna delatnost jer se posvetio poslu sa štamparijama i

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izdavanjem različitih listova. Za Sport i film, časopis koji je dve godine izdavao, pisao je i tekstove o filmu. Probne snimke prve Jugoslovenske tvornice filmova pokazuju očigledan uticaj nemog filma kakav je u to vreme sniman u Srednjoj Evropi. Kako je svrha probnih snimaka bila da se odaberu glumci za sledeće filmove, a ne ambicija da se vizuelizuje zaokruženi narativ, film po svojoj koncepciji odaje utisak eksperimentalnog projekta, što ga iz današnjeg ugla čini još zanimljivijim.

Kako god radove Bošnjaka i Lifke neko ocenjivao sa stručne strane, njihova vrednost za kulturnu baštinu Vojvodine je neprocenjiva i imena ova dva pionira treba uvek izgovarati sa poštovanjem. Krajem dvadesetih godina njihova misija je već bila završena, a neuspeh u pokušaju da se pokrene profesionalna kinematografija u Vojvodini, imajući u vidu okolnosti koje su vladale, bio je logičan ishod. Ni u mnogo većim urbanim centrima tadašnje države, kao što su Beograd i Zagreb, to se nije desilo u periodu između dva rata. Prelazak na zvučni film je samo pogoršao situaciju jer su i kinematografije daleko razvijenijih zemalja prolazile kroz traumatičan period uzrokovan višestrukim posledicama uvođenja nove tehnologije u do tada prvenstveno fotografski medij.

„Titan film“ iz Starog Bečeja osnovao je 1925. godine Danilo Jakšić i to preduzeće je proizvodilo žurnale i namenske filmove. Verovatno je baš opredeljenje za takvu vrstu filma glavni razlog zbog čega je „Titan film“ bio nešto dugovečniji od Lifkine i Bošnjakove producentske kuće. Za međuratni film u Vojvodini posebno je značajna pojava kino-amatera, kao najava masovnog pokreta koji će u novoj socijalističkoj Jugoslaviji iz osnova promeniti situaciju. Pod kino-amaterizmom se u ovom slučaju podrazumeva svako bavljenje filmom koje nije motivisano komercijalnim ambicijama. Rodoljub Malenčić, šef saobraćajnog odeljenja policije u Novom Sadu, autor je kratkog igranog nemog filma Hepi end iz 1929. godine, snimanog 16-milimetarskom kamerom. Iako na trenutke nezgrapan, to je u svakom pogledu zanimljiv pokušaj akcionog filma sa očiglednim uticajem američke kinematografije. U istu grupu autora spada i Lazar Velicki, koji se ipak nije upuštao u stvaranje igranog filma i beležio je svojom 16 mm kamerom

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različite proslave i druge događaje. Kino-sekcija Planinarskog društva „Fruška gora“, zbog svog kolektivnog karaktera, najviše i liči na kino-klub. Članovi kino-sekcije dr Žarko Kapamadžija i Karl Šafer (Karl Schaffer) snimili su 1934. skijaško takmičenje na Fruškoj gori, a nekoliko godina kasnije snimljen je i film o splavarenju na Drini. Kolor-kadrovi skijaškog takmičenja su za sada najstariji poznati kolor-materijal snimljen u Vojvodini.

Posle Drugog svetskog rata kinematografska revolucija se u socijalističkoj Jugoslaviji odvijala u dva pravca. Paralelno sa razvijanjem profesionalne kinematografije, tokom pedesetih se u okviru Narodne tehnike širila mreža kino-klubova, a s njima i prateće aktivnosti koje su pokrivale sve šire slojeve stanovništva. Kada ova dva pravca početkom šezdesetih ukrste puteve, tj. kada autori ponikli u kino-klubovima uđu u profesionalne vode, jugoslovenska kinematografija će postati poznata i priznata u svetu. Zadatak Narodne tehnike je bio da tehničku kulturu naroda u pretežno agrarnoj državi podigne na viši nivo. Imala je mnogobrojne sekcije, a jedna od njih je svoje aktivnosti realizovala preko kino-klubova. Imajući u vidu stanje u kojem se kinematografija nalazila pre Drugog svetskog rata, kao i situaciju uzrokovanu raspadom zemlje krajem XX veka, zasluge koje su za razvoj filma imali jugoslovenski komunisti gotovo je nemoguće preceniti. Pre svega, očigledno je da im je film bio veoma važan, te da su ga zaista smatrali za umetnost. Svakako su ga smatrali i za izuzetno sredstvo političke propagande i komunističke indoktrinacije, ali to ni u kom slučaju ne poništava prethodnu tvrdnju.

Kako u Vojvodini nije bilo profesionalnih producentskih kuća sve do 1966. godine, kino-klubovi kao jedini nosioci filmskih aktivnosti imaju još veću težinu u odnosu na druge krajeve tadašnje zemlje. Suštinski novi kvalitet u odnosu na prethodni period, kada je kino-amaterizam bio privilegija malog broja imućnih pojedinaca, je masovnost članstva kino-klubova. Pored proizvodnje filmova, kino-klubovi su putem kurseva preuzimali na sebe ulogu ustanova za filmsku edukaciju. Ta edukacija nije bila ograničena samo na tehničke aspekte filmske proizvodnje, već je uključivala i istoriju filma i estetiku. Projekcije organizovane

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u okviru kino-klubova su osim priznatih klasika svetskog filma predstavljale i eksperimentalne filmove. Nije čudno da se Kino-klub „Novi Sad“ prvobitno zvao Kino-klub „Slavko Vorkapić“ u čast američkog montažera, reditelja, teoretičara filma i profesora na USC-u (University of South California). Eksperimentalni filmovi tog Sremca po rođenju na najbolji način su predstavljali onu vrstu filma kojoj su težili budući vojvođanski sineasti. Upravo otklon od komercijalnog narativnog filma i ambicija da se beskompromisno istraže granice filmskog medija čine kinoklubaško bavljenje filmom veoma blisko jednom drugom pokretu, koji je takođe tokom pedesetih godina XX veka dobijao na zamahu u Americi. Iako je i za američke andergraund filmove, kao i filmove koji su stvarani u okviru kino-klubova, karakteristično obilje različitih pristupa, i u jednom i u drugom slučaju reč je o autorskom filmu u njegovom najizrazitijem obliku.

Filmove nije dovoljno samo napraviti jer svoj puni smisao dobijaju prikazivanjem pred publikom. Za razvoj, kako scene na državnom nivou tako i individualnih autora koji su stvarali u okviru te scene, od ključnog značaja su festivali kino-klubova, a prva manifestacija te vrste u Vojvodini održana je 1954. godine pod nazivom Prvi festival amaterskog filma Vojvodine. Festivali i različiti međuklupski susreti omogućavali su filmovima da ostvare uticaj i van matične sredine, a filmskim autorima afirmaciju na nivou države, pa makar to bilo samo unutar specifičnog kruga publike okupljene oko kino-klubova, od kojih su većina i sami autori filmova. Zbirni rezultat takvih inicijativa je bilo stvaranje funkcionalne scene koja će kao svoju centralnu manifestaciju pokrenuti 1965. godine MAFAF ili Međuklupski i autorski festival amaterskog filma. Taj festival se svake godine održavao u Puli neposredno pre nacionalnog festivala igranog filma. Autori Ivan Rakidžić iz Pančeva i Artur Hofman iz Sombora prvu veliku afirmaciju doživeli su upravo na tom festivalu, a poslednji MAFAF održan je 1990, u predvečerje raspada Jugoslavije.

Iako 8-milimetarski film postoji od 1932. godine, filmovi kino-klubova su tokom pedesetih i početkom šezdesetih godina bili snimani isključivo na 16 mm filmu i tek je pojava super 8 filma 1965. godine gotovo u potpunosti istisnula format

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16 mm, koji je u međuvremenu prihvaćen na televiziji. Format 16 mm nije najjeftinija opcija bavljenja amaterskim filmom i zato je unutar svakog kluba postojala komisija sastavljena od starijih članova koja je pravila izbor scenarija koji će biti snimljeni. Nema podataka koji bi upućivali na zaključak da se na taj način sprovodila cenzura, bilo ideološka bilo estetska, a van sumnje je činjenica da je autor iz kino-kluba imao daleko veću slobodu u radu od autora koji je radio u profesionalnoj kinematografiji.

Odsustvo ideološke cenzure treba shvatiti uslovno i pre svega kao nepostojanje socrealističkog kanona koji bi glorifikaciju socijalističkog društva postavio kao imperativ, a sigurno je da bi svako otvoreno ispoljavanje antikomunizma bilo sasečeno u korenu. Raskid sa Sovjetskim Savezom 1948. godine imao je nesumnjive pozitivne posledice, kako na društvo u celini tako i na kulturnu klimu u kojoj će se razvijati nove generacije sineasta. Status hladnoratovske anomalije, odnosno Jugoslavije kao tampon-zone između dva nepomirljiva politička bloka, odrazio se i na program filmova koji su bili prikazivani u bioskopskoj mreži. Redovna bioskopska mreža nije u svom programu imala amaterske filmove, ali je zato prikazivala filmove i sa Istoka i sa Zapada. Kada je reč o filmovima iz kapitalističkog bloka vredi zapaziti da je holivudska produkcija, iako najbrojnija, zauzimala daleko manji procenat programa bioskopa, a filmovi iz različitih evropskih kinematografija su bili daleko prisutniji nego što je to danas slučaj. Pogotovo je to slučaj sa velikim kinematografijama kao što su italijanska ili francuska. Italijanski neorealizam, francuski novi talas, kao i Bergmanovi i Kurosavini filmovi bez problema su nalazili put do publike u tadašnjoj Jugoslaviji, a čak je i rodonačelnik američkog nezavisnog filma (Senke [Shadows], 1959) Džon Kasavetes imao redovnu distribuciju početkom šezdesetih. Isti je slučaj i sa filmovima iz socijalističkog bloka, sa posebnim akcentom na sovjetski, poljski i čehoslovački film. Ako ovome dodamo povremeno pojavljivanje naslova meksičke, brazilske i indijske kinematografije i programe „Jugoslovenske kinoteke“, može se reći da je jugoslovenska bioskopska publika tog vremena bila izuzetno dobro obaveštena, kako o aktuelnim događanjima u svetskom filmu tako i o njegovoj baštini.

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Televizijske stanice su pokrenute najpre u Zagrebu 1956, zatim u Beogradu i Ljubljani 1958, a tokom šezdesetih i ostali republički centri su dobili svoja televizijska studija. Televizija je u početku imala ograničen uticaj zbog malog broja domaćinstava koja su sebi mogla priuštiti TV prijemnik, a masovni ulazak televizijskih aparata u jugoslovenske domove odigraće se u drugoj polovini šezdesetih godina XX veka. Televizija je donela i niz novih formi specifičnih za taj medij, od kojih se za većinu ni u kom slučaju ne bi moglo reći da su umetničke forme. Ipak, najveća i najvažnija promena koju je televizija donela jeste premeštanje mesta konzumacije pokretnih slika iz javnog prostora (bioskopa) u privatni prostor (dnevnu sobu). Televizijski ekran i njegova rezolucija su daleko manji nego kod bioskopskog ekrana, ali se zato broj potencijalnih gledalaca u slučaju tadašnje Jugoslavije povećao nekoliko desetina hiljada puta. Svaka pojedinačna projekcija filma u bioskopu je u najboljem slučaju mogla imati publiku od nekoliko stotina gledalaca, dok je jedno jedino emitovanje na televiziji donosilo milionski auditorijum. Prigovori jednog dela filmskih teoretičara i praktičara da je bioskopski film prikazan na televiziji samo informacija o filmskom delu u to doba su sigurno imali smisla, ali razvoj digitalne tehnologije u poslednje dve decenije takva razmišljanja je u velikoj meri relativizovao. Kada je reč o filmskom programu tadašnje jugoslovenske televizije, koja nije morala da se bori za gledanost sa konkurentskim kanalima jer je postojao samo jedan, koji je osim zabavne i propagandne imao i funkciju edukacije svojih gledalaca, on se u značajnoj meri oslanjao na filmove iz fonda „Jugoslovenske kinoteke“. Tako je novi medij, televizija, postao dodatni kanal za prezentaciju istorije najstarije tehnologije pokretnih slika.

Vojvodina tokom šezdesetih i u prvoj polovini sedamdesetih nije imala svoju televizijsku produkciju, ali će zato entuzijazam i masovnost koja je krasila kino-klubove dobiti novi podstrek osnivanjem profesionalne producentske kuće „Neoplanta“ u Novom Sadu 1966. godine. Kino-klubovi u Novom Sadu, Pančevu i Somboru bili su najaktivniji i najorganizovaniji, a novosadski klub je već krajem pedesetih produkcijom namenskih filmova delimično ušao u profesionalnu kinematografiju. Katastrofalne poplave 1966. godine su kod pokrajinskih vlasti

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stvorile potrebu za filmskom dokumentacijom, a Kino-klub „Novi Sad“ je sa svojim kadrovima i tehnikom bio u stanju da udovolji toj potrebi. Dok je u drugim krajevima Jugoslavije profesionalna kinematografija nastala državnim dekretom, u Vojvodini su političke strukture samo prepoznale i ozvaničile inicijativu iz baze dajući joj legitimitet za profesionalno bavljenje filmom. Isti slučaj je i sa pančevačkim „Pan filmom“, osnovanim 1971. godine. Već 1968. snimljen je prvi dugometražni igrani film Sveti pesak po scenariju i u režiji poznatog književnika Miroslava Antića, a direktor fotografije je bio Petar Latinović. Isti tandem je, uz nekoliko kratkih filmova, 1971. godine snimio još jedan dugometražni film, Doručak sa đavolom. Za oba filma je karakteristično bavljenje politički škakljivim temama iz tada ne tako davne prošlosti, i iako u svoje vreme nisu doživeli afirmaciju kakvu zaslužuju sasvim je sigurno da se ubrajaju u najznačajnije jugoslovenske igrane filmove.

„Neoplanta film“ se u roku od nekoliko godina afirmisala kao uspešan producent dokumentarnih, animiranih i dugometražnih igranih filmova, a dugogodišnji članovi Kino-kluba „Novi Sad“ Branko Milošević, Petar Latinović, Slobodan Miletić, Srđan Ilić, Prvoslav Marić i Slavuj Hadžić postali su jezgro novoosnovane producentske kuće na čelu sa direktorom Svetozarom Udovičkim. Filmografija ove producentske kuće rečito govori da je ona bila otvorena i za autore iz drugih krajeva tadašnje zemlje. Dušan Makavejev iz Beograda i Karpo Godina iz Slovenije, autori čiji su počeci filmskih biografija vezani za kino-klubove, su za „Neoplantu film“ snimili neke od najznačajnijih filmova ne samo tog perioda već jugoslovenske kinematografije uopšte. Dokumentarni film 70-e sezonci Prvoslava Marića pokazuje da ima još autora iz Novog Sada koji mogu da snime zapažene filmove. Nova producentska kuća nije se ograničila samo na autore sa kinoklubaškim pedigreom, već je u svoje aktivnosti uključila i talente iz drugih umetnosti. Slikar, crtač i ilustrator Borislav Šajtinac je od 1969. do 1972. godine zaokružio opus animiranih filmova, višestruko nagrađivanih u zemlji i inostranstvu, da bi potom nastavio karijeru u Nemačkoj. Braća Vranešević započinju dugogodišnju i izuzetno plodnu i uspešnu karijeru kompozitorâ filmske muzike. Ipak, najveći uzlet ostvario je autor sa relativno kratkim stažom

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u Kino-klubu „Novi Sad“ – Želimir Žilnik. Žilnik je za manje od decenije prevalio put od gotovo anonimnog kino-amatera do pobednika jednog od najprestižnijih svetskih festivala igranog filma. Posle niza zapaženih društveno angažovanih polemičkih dokumentarnih filmova, tada dvadesetsedmogodišnji reditelj snima svoj prvi igrani film Rani radovi i s njim osvaja Zlatnog medveda na Berlinskom internacionalnom filmskom festivalu 1969. godine. Umesto trijumfalnog dočeka, berlinskog pobednika kod kuće čekaju problemi, kampanja blaćenja u štampi i pokušaj sudske zabrane filma. Slučaj Ranih radova bio je samo najava onoga što će uslediti za nekoliko godina, kada Savez komunista Jugoslavije krene u konačni obračun sa onim što je u međuvremenu nazvano crni talas u jugoslovenskom filmu. Do tada za jugoslovenski film nezabeležen uspeh, koji su filmovi takozvanog crnog talasa ostvarili u inostranstvu, po svemu sudeći je samo još više iritirao konzervativne krugove u partiji. U prevratničkoj atmosferi šezdesetih godina XX veka mladi ljudi u Zapadnoj Evropi i Sjedinjenim Američkim Državama su se ogromnom većinom priklanjali različitim levim političkim opcijama. Socijalistička Federativna Republika Jugoslavija je za levičare na Zapadu bila nada i u njoj su videli socijalizam sa ljudskim licem, nasuprot neskrivenog totalitarizma Sovjetskog Saveza, kompromitovanog brutalnim vojnim intervencijama u Mađarskoj 1956. i Čehoslovačkoj 1968. godine. Jugoslovenski filmovi, koje je tadašnja zapadna publika imala priliku da gleda, su ih u takvom ubeđenju mogli samo učvrstiti. Radikalni i po formi i po sadržini, filmovi crnog talasa su ubedljivije od bilo kakve državne propagande svedočili o stepenu kreativne slobode za koju su se tadašnji filmski autori izborili. „Neoplanta film“ sa svojom produkcijom predstavlja izuzetno važan i nezaobilazni segment fenomena crnog talasa, a da je kao takva bila shvaćena i u svetu svedoči poseban program od jedanaest filmova, sastavljen isključivo od filmova novosadskog producenta, na festivalu u Oberhauzenu 1971, koji je prikazan u terminu inače namenjenom predstavljanju nacionalnih kinematografija. Internacionalni festival kratkog filma u Oberhauzenu (Internationale Kurzfilmtage Oberhausen) i danas predstavlja jednu od najvažnijih platformi za prezentaciju kratkog filma, a u doba crnog talasa bio je apsolutno najvažniji festival kratkog filma na svetu, i kao takav odskočna daska

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za karijere mnogih autora iz tadašnje Jugoslavije. Isti festival je 2004. godine upriličio retrospektivu filmova Želimira Žilnika i Karpa Godine. Direktor fotografije i montažer Ranih radova, Karpo Godina Aćimović za „Neoplantu film“ snima eksperimentalni film Gratinirani mozak Pupilije Ferkeverk 1970, a zatim i pravo remek-delo kratkog dokumentarnog filma Zdravi ljudi za razonodu 1971, sa muzikom Predraga Vraneševića. Naško Križnar sa grupom OHO snima eksperimentalni film Beli ljudi.

Uprkos svemu, zlatnom dobu „Neoplanta filma“ bližio se kraj, a kap koja je prelila čašu strpljenja vojvođanskih komunista je film Dušana Makavejeva iz 1971. godine W. R. Misterije organizma, posvećen životu i idejama austrijskog psihoanalitičara Vilhelma Rajha. Iako film zbog afere u čijem se središtu našao nije prikazivan u Jugoslaviji, zahvaljujući nemačkom koproducentu film je distribuiran širom sveta i čak je „Neoplanta filmu“ svake godine donosio značajan devizni prihod. W. R. Misterije organizma je veoma brzo stekao kultni status u globalnim okvirima, a Dušan Makavejev uz taj film i ostatak opusa postaje deo najužeg kruga reprezentativnih reditelja svetskog filma svog doba. Rediteljski postupak, koji obilato koristi mešanje arhivskog dokumentarnog i igranog materijala, svrstava ga u preteče postmodernizma. Današnji pokušaji da se pojedini filmovi stave na stub srama, bilo stvarni bilo lažni – ponekad inicirani od strane samih autora koji za svoje filmove hoće da isprovociraju dodatni publicitet – samo su bleda senka siline sa kojom se partija obrušila na najvažnije aktere crnog talasa. U relativno kratkom vremenskom razdoblju Aleksandar Petrović će izgubiti mesto profesora na katedri za režiju na Fakultetu dramskih umetnosti u Beogradu i nastaviti karijeru u Nemačkoj, Živojin Pavlović takođe gubi mesto profesora, Dušan Makavejev odlazi u Francusku i započinje internacionalnu karijeru snimajući filmove u Holandiji, Švedskoj i Australiji, a Želimir Žilnik odlazi u Nemačku gde će snimiti niz nagrađivanih dokumentarnih filmova i jedan dugometražni igrani film. Direktor „Neoplanta filma“ Svetislav Udovički je smenjen, a novo rukovodstvo se svojski trudilo da ne odstupi od partijske linije, što će posle nešto više od decenije i dovesti do propasti „Neoplanta filma“ iz razloga koji nemaju veze sa ideologijom.

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Jugoslovenska kinematografija je postala žrtva društvenih previranja u vremenu kada je autoritet Saveza komunista bio ugrožen i sleva i zdesna, kao što je to bio slučaj tokom studentskih demonstracija iz 1968. ili hrvatskog Maspoka iz 1971. godine. Očigledno je partija osetila potrebu da jasno odredi liniju šta je prihvatljivo a šta nije. Tako je kinematografska revolucija likvidirala svoju decu. Problemi nisu mimoišli ni pančevački „Pan film“ koji se prvenstveno orijentisao na kraće forme, bilo da je reč o dokumentarnom, animiranom ili kratkom igranom filmu. Animirani film Put Stevana Živkova iz 1978. godine zabranjen je za prikazivanje i ta zabrana je potrajala do 1990. godine kada je osvojio nagradu za animirani film na Festivalu dokumentarnog i kratkometražnog filma u Beogradu. U obimnoj filmografiji druge vojvođanske profesionalne kuće, koja je bila aktivna od 1971. do 1991, ističu se filmovi Na ljuljašci reditelja i scenariste Miloša Nikolića, koji je bio u zvaničnom programu festivala u Oberhauzenu 1972. godine, a isto tako i Ustanak u Jasku Želimira Žilnika iz 1973.

Posle obračuna sa crnim talasom, u situaciji kada je tolerisana samo „društveno prihvatljiva“ kritika, najbolje se snašao Karolj Viček sa svojim distanciranim pogledom na tadašnju socijalističko-samoupravljačku Vojvodinu, a njegov film Trofej iz 1979, u produkciji „Neoplanta filma“, dobio je Zlatnu arenu za najbolji film na Festivalu igranog filma u Puli. Ipak, najbezbednija zona za filmske autore bila je jedini autohtoni žanr socijalističke Jugoslavije – film iz Narodnooslobodilačke borbe, kolokvijalno nazvan partizanski film. Postoji jedna doza zakasnele ironije u činjenici da je nemezis vojvođanskog dugometražnog igranog filma ovaploćen baš u liku Veljka Bulajića, veterana partizanskog žanra. Spektakl sa temom iz Narodnooslobodilačke borbe u Sremu trebalo je da Vojvodini podari veliku filmsku epopeju iz Drugog svetskog rata. Veliki transport (1983) u produkciji „Neoplanta filma“ viđen je i kao izvozni adut vojvođanske kinematografije s obzirom na koproducente iz Sjedinjenih Država i poznate domaće i strane glumce. Pokrajina je investirala milione dolara u apoteozu oslobodilačkog rata, ali velike ambicije su se završile neprijatnim sudskim procesom i konačnim prestankom rada „Neoplanta filma“. Zbog toga u Vojvodini nije bilo nijedne produkcije dugometražnog igranog filma u periodu od 1985. do

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1988. godine. Labudova pesma „Neoplanta filma“ je remek-delo jugoslovenskog filma Život je lep (1985) reditelja Bora Draškovića. Film, rađen po motivima priče Aleksandra Tišme i uz saradnju pisca u radu na scenariju, vešto secira društvo otkrivajući trulež i nasilje, koji će koju godinu potom razoriti zemlju. Život je lep imao je zapažen nastup u zvaničnom programu Venecijanskog filmskog festivala 1985. godine, a glumica Sonja Savić dobila je specijalnu nagradu.

Do 1976. godine Vojvodina je u fenomenu jugoslovenske televizije participirala pre svega kao publika, ali pokretanje Televizije Novi Sad je za relativno kratko vreme potpuno izmenilo tu situaciju. Njen razvoj je po prvi put na teritoriji pokrajine ostvario proizvodnju pokretnih slika na industrijskom nivou. Nijedna producentska kuća pre toga nije svakodnevno proizvodila program, pogotovo ne u tim količinama. Većina produkcije nije spadala u umetnost, ali je samom količinom proizvedenog programa značajno uticala na širenje uticaja medija pokretnih slika. Kadar ponikao u kino-klubovima će u početku rada na TV Novi Sad činiti okosnicu produkcionih ekipa, a uskoro će se pojaviti i novi izvor fakultetski obrazovanih kadrova. Iste godine kada i TV Novi Sad počela je sa radom i Katedra za intermedijalnu režiju na novosadskoj Akademiji umetnosti, i već 1980. diplomirali su prvi studenti režije u klasi profesora Bora Draškovića. U međuvremenu je počela sa radom i klasa režije profesora Vlatka Gilića. Studije režije su koncipirane intermedijalno i, za razliku od tradicionalno odvojenih studija režije, gde se sa jedne strane izučava režija u pozorištu i na radiju nasuprot studija režije na filmu i televiziji, studenti novosadske Akademije umetnosti radili su u sva četiri pomenuta medija. Oni diplomirani reditelji čije težište rada nije bilo u pozorištu uglavnom su vezivali svoje karijere za RTV Novi Sad, radeći u redakcijama Dokumentarno-feljtonsko-obrazovnog programa ili Kulturno-umetničkog programa. Pored dokumentarnog programa, za diplomirane reditelje najinteresantniji je bio dramski program TV Novi Sad, koji je u formi TV drame proizvodio produkcijski manje zahtevne igrane filmove, i gde su tadašnji diplomci novosadske Akademije umetnosti Jan Makan i Eva Balaž 1985. godine snimili svoje TV filmove Miša i Miklošićeve sirene. Karolj Viček je za TV Novi Sad snimio svoj, po mnogima najbolji, film Bacač noževa. Bez obzira na veoma značajan

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pionirski rad profesorke Bogdanke Poznanović, koja je već 1979. počela da vodi predmet Intermedijalna istraživanja, u okviru koga su studenti Likovnog odseka novosadske Akademije umetnosti snimali video-radove, video-art nije u Novom Sadu tokom osamdesetih dobio onu vrstu zamaha koju je imao u Ljubljani i Zagrebu. Urednici TV Novi Sad nisu mnogo marili za video-art i medijske eksperimente, a izuzetak su radovi braće Vranešević, koji su uspeli da se izbore za prostor u novoj medijskoj kući. U potpunom kontrastu sa masovnošću kino-klubova, bavljenje video-artom u Vojvodini tokom sedamdesetih i osamdesetih bilo je ograničeno na mali broj praktičara kao što su Bogdanka Poznanović, Katalin Ladik ili Predrag Šiđanin, koji su svoje projekte realizovali uglavnom van najveće medijske kuće u Vojvodini. Tek krajem osamdesetih studenti se u većem broju opredeljuju za kontinuirani rad sa videom, a Dragan Živančević po završetku studija na novosadskoj Akademiji umetnosti produkuje niz zapaženih radova tokom devedesetih.

Novi Sad je posle gašenja „Neoplanta filma“ ponovo dobio profesionalnu producentsku kuću „Terra film“, koja je preuzela prostorije, arhivu i opremu „Neoplanta filma“. Do 1992. godine „Terra film“ će uz više kratkih snimiti i tri igrana filma – Tako se kalio čelik Želimira Žilnika, Granica Zorana Maširevića, Tito i ja Gorana Markovića, a zatim će posle ukidanja SIZ-a za kulturu Vojvodine i prestanka finansiranja kinematografije u Vojvodini nastaviti da vegetira kroz devedesete.

U potpunom kontrastu sa medijskim pripremama za rat, dolaskom Želimira Žilnika na mesto glavnog urednika redakcije Kulturno-umetničkog programa u poslednjoj mirnodopskoj godini TV Novi Sad postaje, kao nikada do tada, kuća u kojoj je moguće realizovati umetničke projekte. Veoma brzo je započeto snimanje TV filmova posvećenih najpoznatijim akterima novosadske konceptualne scene sa kraja šezdesetih i početka sedamdesetih, koje je zadesila po mnogo čemu i gora sudbina od one koju su doživeli akteri crnog talasa. Nagrade tim TV filmovima na Festivalu JRT-a u Neumu i Festivalu dokumentarnog i kratkometražnog filma u Beogradu dodaju Žilnikovoj impresivnoj autorskoj biografiji i reference uspešnog

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producenta. Taj period u radu TV Novi Sad trajao je do kraja 1992. godine kada se Žilnik povlači sa mesta urednika, a u zemlji u ratnom okruženju televizijskim programima dominiraju informativni program i propaganda državnog vrha.

U poslednjoj deceniji XX veka kino-klubovi su bili daleka prošlost i novi zamah alternativnim produkcijama daje tehnološki razvoj i ulazak kompjutera u domen montaže i obrade slike i tona. Video Dobro veče iz 1996. godine Umetničke asocijacije Apsolutno primer je rada koji je temeljno istražio mogućnosti digitalne montaže. Pojava kompjutera na kojima je bilo moguće montirati materijal i obrađivati zvuk, kao i novih digitalnih formata i kamera, značajno su doprineli da proizvodnja pokretnih slika ne bude više privilegija specijalizovanih studija. Ova tendencija je veoma umanjila značaj Televizije Novi Sad, koja je do tada praktično bila produkcioni monopolista na teritoriji pokrajine. Pojavom privatnih i lokalnih TV stanica nekada jedinstveni auditorijum se podelio, a većina gledalaca se okrenula velikim komercijalnim televizijama i njihovoj viziji pučke zabave.

Kao posledica promena u zemlji posle 2000. godine AP Vojvodina je ponovo počela da finansira film. Početni ohrabrujući potezi omogućili su da niz diplomaca režije sa novosadske Akademije umetnosti, kao što su Sabolč Tolnai, Marin Malešević i Miloš Pušić, snimi svoje zapažene debitantske filmove. Pozitivni impulsi u podršci snimanju dugometražnih igranih filmova narednih godina su se izgubili u praksi simboličnog finansiranja nekoliko projekata godišnje, čime se kulturna politika AP Vojvodine svela samo na formalnu podršku opstanku vojvođanske kinematografije.

Digitalizacija tradicionalnih medija uzrokovala je medijsku konvergenciju i sadržaji koji su u prošlosti bili vezani za pojedinačne medije sada su, zahvaljujući internetu, dostupni i na nizu različitih uređaja koji do pre dve decenije nisu ni postojali. Video-kamere su danas, posredstvom mobilnih telefona, dostupne najširim slojevima stanovništva, što bavljenje videom, zavisno od ugla gledanja, podiže ili spušta na nivo pučke umetnosti. Ta masovnost i dostupnost uređaja

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za beleženje pokretnih slika i zvuka, kakva nije bila prisutna ni na vrhuncu ekspanzije kino-klubova, ima za posledicu da je alatka neophodna za proizvodnju pokretnih slika sada u rukama miliona građana, a ekskluzivnost stvaranja pokretnih slika, koja je krasila pionire filma, izgubila se u svetu u kome svako prema svom znanju i talentu može da napravi film. Istovremeno, toj heterogenoj grupi, različitoj i po obrazovanju i po životnoj dobi, poreklu i mentalitetu, stoji na raspolaganju i globalni kanal za distribuciju i prezentaciju – internet. Globalna mreža je do sada usisala u sebe sve druge medije, a pokretne slike su, najpre stidljivo, putem animiranih gifova, ušle u sadržaj veb stranica, da bi ubrzanjem mreže u potpunosti ispunile očekivanja koncepta koji je teorijski razvijan krajem osamdesetih godina XX veka – video on demand, kada gledalac sam može da bira koji video-sadržaj želi da pogleda u realnom vremenu sa gotovo trenutnim pristupom. Prodorom videa na internet, bilo u obliku Ju tjuba (You Tube), bilo reklama ili video-klipova u okviru on-lajn izdanjâ novina, pokretne slike su nam dostupnije nego ikad pre i u daleko većoj meri utiču na naše shvatanje realnosti. Niko u ovom trenutku ne može sa sigurnošću predvideti kako će se razvoj odvijati u budućnosti, ali sasvim je izvesno da će zbog tehničkog napretka i slika i ton biti sve superiorniji i da će se pojavljivati nove forme i oblici korišćenja pokretnih slika.

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In the course of its history, more than a century long now, the art of film has

come a long way, treading a path paved with technological innovations that

have gradually but inexorably led it into the world of digital media by the second

decade of the 21st century. This journey of no return is permeated with frequent

acts of looking back and asking what has changed and what remains the same.

Even now it is certain that digital technologies will entirely replace celluloid film

in the technological chain leading from the camera to the projector by the end of

this decade. Film, or to put it more precisely, the technology of moving pictures,

is in the midst of an exceptionally dynamic technological revolution, whose

consequences are all-encompassing and pertain to both the process of producing

moving pictures and the ways of distribution and presentation. As opposed to

this, the content and the form in which that content is presented follow the logic

of its evolution, which certainly uses technical innovations, but they develop

independently to a much greater extent, and first of all under the influence of

creative minds who use technology for the creation of moving pictures. If we

focus solely on what we watch on our screens, the impression of uninterrupted

continuity predominates. It appears as if the media of film and television literally

jumped from analogue to digital technology, bringing along the complete

baggage of their respective histories, conventions and poetics. The term moving

pictures, which was initially used as a synonym for film, has now been brought

back into use, comprising, apart from film, all forms of television, that is, any

kind of use of a two-dimensional screen for projecting moving pictures, with or

without sound.

Aleksandar Davić

FILM IN VOJVODINA

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The medium of moving pictures has been present on the territory of Vojvodina since November 1896, when a certain M. Kovács from Budapest staged an artificial performance at the theatre of L. Dunđerski in Novi Sad, using a projector. The major part of the history of the medium of moving pictures in Vojvodina pertains solely to film and cinematography, for it was only in the mid-1970’s that Television Novi Sad started broadcasting its programme, and soon afterwards it attained an absolutely dominant position when it came to creating and presenting moving pictures. From the end of the 19th century to the present day, the territory of Vojvodina has been a part of a number of different states, and the position of its cinematography, and subsequently its television as well, did not deviate from the broader context pertaining to this type of activity in the states that Vojvodina was a part of. When the general situation was unfavourable, it was certainly the case with Vojvodina, and the same holds true in the case of periods when the general conditions were better, including the most successful period of the cinematography of the Socialist Federal Republic of Yugoslavia (SFRY), towards the end of the 1960’s, a significant chapter of which belongs to Želimir Žilnik’s film Early Works, which won the Golden Bear award at the Berlin International Film Festival (Berlinale) in 1969.

At the time when film appeared, Vojvodina was a part of Austria-Hungary. Mr Kovács from Budapest was certainly one of the many owners of travelling cinemas who staged cinema screenings in all the major settlements of Vojvodina towards the end of the 19th and in the early 20th century, trying to profit on the latest attraction, the latest marvel of technology. The conditions for the development of cinematography in Vojvodina differed from those in the great urban centres of the Habsburg Monarchy – Vienna, Budapest and Prague. It is no wonder that the domestic pioneers of film Aleksandar Lifka and Ernest Bošnjak dealt with the distribution and screening of films, and they had their own cinemas as well. The existence of both men was connected with film, and from screening films to buying a movie camera for the purpose of producing films as well, there is but one step. Bošnjak’s film dating from 1912 entitled The Unveiling of a Monument to Ferenc Rákóczi, viewed from today’s perspective, is

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of interest as a precious historical document, as well as an enduring monument to an audacious attempt, successful in every respect, to use the new medium for documenting local developments. The list of lost films, of which information can be found in the newspapers of that era, is much longer than the list of films that have been preserved. The films made by Vladimir Totović, son of a wealthy merchant from Novi Sad, have also been lost. This holds true of two films that he directed, as well as the films wherein he acted in Budapest and Vienna. This ambitious and enterprising young man, who died before he reached the age of twenty, was driven to action solely by his wish to become a “film-artist” and to make movies. Totović did not even get to start making his third film, the ominously titled, The Death Club. Having been conscripted, he was killed on the Italian Front in 1917, thus joining the club of many millions of victims of World War One. Judging by his attempts to establish a film studio immediately before the war, first in Sombor – without success, and subsequently in Novi Sad as well, Ernest Bošnjak also had the ambition to make film production his primary business activity. These plans were thwarted by the outbreak of the war, but this tenacious resident of Sombor did manage to get the production house “Boer film” started in his native city in 1923.

If we take the year 1918 to be the end of the pioneering period of film in Vojvodina and attempt to review the achievements of that period, we can safely conclude that film, owing to travelling cinemas, very soon reached the regions of Vojvodina, and that the establishment of permanent cinemas in its major settlements laid the foundation of the future network of cinemas. The fact that thirty permanent cinemas existed in Vojvodina at the time, ten of which were opened during the war, indicated that the audience accepted film and that, despite the war, the market for film actually increased. The press regularly reported on cinema screenings, and the article of the journalist Žarko Ognjanović entitled “On the Cinema”, published in the Novi Sad paper Branik in October 1910, marked the beginnings of film criticism. As opposed to this, the local production never reached beyond the scope of the individual attempts of the three pioneers to produce films continuously, regardless of their boundless

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enthusiasm. Too little material has been preserved for us to be able to pass judgement on them as movie creators with any degree of certainty. In the case of Totović, it is virtually impossible, for the primary sources have been lost, and the only traces of his activities are to be found in several newspaper articles and in his private correspondence with his brother. From one of these letters, in which he speaks to his brother Jovan Totović about the details of his future film, we can see that he paid a lot of attention to “what today’s audiences expect”. From the text of the letter, it is clear that he wished to make commercial action films, spiced up by the presence of mysterious criminal secret societies, possibly resembling the serial Spiders, which brought fame to the director Fritz Lang immediately after the war. He probably had the opportunity to see German films dealing with similar topics in the Novi Sad cinema “Apolo”, and such an influence would have been perfectly natural. Just precisely how much directorial skill and know-how he invested in the making of his movies will remain a secret until a copy of his film Detective as a Thief, made in 1915, is discovered in some archive. Feature films are rather more convenient when it comes to analysing a director’s method than documentary films, but Bošnjak’s first creation, entitled In the Kingdom of Terpsichore, wherein he used dancers whose moves he choreographed for the shooting, has not been preserved either. The same goes for two films made by Aleksandar Lifka, Its Majesty Money and Good-tempered Blacksmiths. The latter was reportedly provided with sound by means of gramophone records, but no other information exists about either of these films. Viewed in a broader context, we can see that in Europe, America and Japan, on the eve of the First World War, film had stopped being a pioneering activity and had become a serious industry which brought considerable earnings and employed a large number of different professions connected with film-making. There was no comparable rise to that level of production in Vojvodina, nor would there be any during the subsequent period, when Vojvodina became a part of the Kingdom of Yugoslavia.

The hiatus in the expansion of film that was caused by the war in Europe was not in evidence in America. Over the period of a mere several years, developments occurred there which would influence the development of film

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the world over. The Birth of a Nation, made by David W. Griffith in 1915, apart from achieving unprecedented commercial success, permanently changed the manner of expression in film. Films became longer, more complex, and therefore more difficult to realise. Through the acceptance of analytical narration as the dominant convention of the narrative film, the editor stopped being a technician whose only task was to connect a succession of scenes filmed within the framework of a shot, and became an artist whose influence on the final product – the film itself, was considerably greater. As far back as the period before the war, film studios gradually moved to California. That process was completed over a period of several years, and by linking smaller studios into big companies during the course of the 1920’s, major Hollywood studios were formed, and in the post-war years they initiated an aggressive expansion onto foreign markets. Their only serious competitor was the German UFA, which also came into being through a process of linking a number of smaller studios, only in this case it was carried out with abundant support of the German state, industry and banks.

In the Kingdom of Serbs, Croats and Slovenes, later the Kingdom of Yugoslavia, film production was not in any significant degree financially supported by the state, for it was considered to se a solely commercial activity. This is partly understandable due to the fact that for a large part of the public film still represented a funfair-type of attraction that did not have any artistic value. It was far less clear why, contrary to some other countries, even Germany itself, where the UFA company had a virtually monopolistic position on the domestic market for a number of years, there were no measures in the newly created kingdom aimed at protecting the domestic market. True, The Law on Regulating the Distribution of Films, dating from 1931, did include a provision stating that cinemas were obligated to have 15% of their repertoire made up of domestic films, but that provision was abolished in 1933, and therefore had no lasting influence on the exceptionally unfavourable surroundings of the domestic cinematography. The not very large network of cinemas was supremely ruled by foreign films, first of all American and German ones. In the clash of “Paramount” and the German UFA company, on one side, and Ernest Bošnjak’s “Boer film” from Sombor or

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Danilo Jakšić’s “Titan film” from Stari Bečej, on the other, it is very easy to guess which side lost. If, in the period before 1910, the position of Aleksandar Lifka and Ernest Bošnjak as cinema owners, in Subotica and Sombor respectively, did not essentially differ from that of the owner of a nickelodeon from the other side of the Atlantic Ocean, only some ten years later the situation was considerably different. American craftsmen and small-time merchants, who, before World War one had been trying to make easy money on cinemas, whose number was multiplying at an unprecedented rate, became – if they survived the market competition – the bosses of great Hollywood studios whose films were shown and brought a profit on the global market. Under such conditions, Lifka founded a joint-stock company called “Orijent film d.d. – a store for producing, procuring and renting of films, cinema equipment, machine and technical goods”. Even though in the 1920’s he made several documentary films about various public events, his business activities were soon reduced to the sale of electrotechnical goods. The documentary films that he occasionally made during this period do not manifest any particularly ambitious directorial concepts, apart from the intention to record a given event on film. With a lot more ambition and élan, Ernest Bošnjak founded the company “Boer film” in 1923 in Sombor. He brought a director and a cameraman from Budapest, and recorded Trial Shots of the First Yugoslav Film Factory. It is of interest to note that this is the only film of his to have been preserved in its entirety, and “Boer film” made three more short feature films and one advertising cartoon before it ceased operations in 1926. Later on, he occasionally made documentary films dealing with sports-related and religious topics, but this was obviously not his main professional activity, for he dedicated himself to printing and publishing various papers. For Sport i film [Sport and Film], a periodical which he published for two years, he wrote texts about film. The film Trial Shots of the First Yugoslav Film Factory shows the obvious influence of silent film, of the variety being made in Central Europe at the time. As the purpose of the trial shots was to select actors for the movies that the company was going to make, and there were no intentions of visualising a rounded-off narrative, the film, in terms of its concept, gives the impression of being an

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experimental project, which makes it that much more interesting from today’s perspective.

However one might evaluate the works of Bošnjak and Lifka from a the point of view of professional criteria, their value for the cultural heritage of Vojvodina is immeasurable, and the names of these two pioneers should always be uttered with respect. Towards the end of the 1920’s, their mission was already over, and their failed attempt to start a professional cinematography in Vojvodina, in view of the local conditions at the time, was a logical outcome. Even in much larger urban centres of the state at the time, such as Belgrade and Zagreb, this did not happen in the period between the great wars. The switch to sound film only made the situation worse, for even the cinematographies of countries that were more developed by far went through a traumatic period caused by the multiple consequences of introducing a new technology into what was a primarily photographic medium until then.

“Titan film” from Stari Bečej was founded in 1925 by Danilo Jakšić, and this company produced newsreels and films made for a specific purpose. The decision to produce such films was probably the main reason why “Titan film” lasted somewhat longer than Lifka’s and Bošnjak’s production houses. What was of particular importance for film in Vojvodina in the period between the great wars was the appearance of amateur film-makers, as an announcement of a mass movement that would profoundly change the situation in the new socialist Yugoslavia after World War Two. In this particular case, what we mean by amateur film-making is any kind of dealing with film that is not motivated by commercial ambitions. Rodoljub Malenčić, the head of the Traffic Department of the Novi Sad police, is the author of a short silent feature film entitled Happy End, dating from 1929, filmed with a 16mm camera. Although somewhat clumsy at times, it is in every respect an interesting attempt at making an action movie, manifesting obvious influences of American cinematography. Lazar Velicki belongs to the same group of authors, although he did not venture to create a feature film; instead, he recorded various celebrations and other events with

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his 16mm camera. The film section of the mountaineering society “Fruška gora”, on account of its collective character, looked most like a film club. Dr Žarko Kapamadžija and Karl Šafer, members of the film section, filmed a skiing competition held on Fruška gora in 1934, and a few years later they made a film about rafting on the Drina. The colour footage of the skiing competition mentioned above represents the oldest colour footage filmed in Vojvodina so far.

After the Second World War, the cinematographic revolution in socialist Yugoslavia unfolded in two directions. Parallel with the development of professional cinematography, in the 1950’s, within the framework of the People’s Technique organisation, a network of film clubs spread, along with attendant activities that reached increasingly broader strata of the population. When the paths of these two directions crossed in the early 1960’s, that is, when authors originating in film clubs entered the professional sphere, Yugoslav cinematography became known and recognised in the world. The task of People’s Technique was to elevate the technical culture of the people in a predominantly agrarian state to a higher level. It had numerous sections, and one of them realised its activities through film clubs. In view of the situation of our cinematography before World War Two, as well as the situation caused by the disintegration of the country towards the end of the 20th century, the contribution of Yugoslav communists to the development of film almost cannot be stressed enough. First of all, film was obviously very important to them, and they truly considered it to be a form of art. They certainly considered it to be an exceptional means of political propaganda and communist indoctrination, but this in no way invalidates the preceding claim.

Since in Vojvodina there existed no professional production houses until 1966, film clubs as the only places where film activities were carried out were even more important than in other parts of the country at the time. An essentially new quality compared to the preceding period, when amateur film-making was the privilege of a small number of well-to-do individuals, is the mass character of membership in film clubs. In addition to producing films, film clubs took on

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the role of institutions for film education by providing courses in film-making. This education was not limited solely to the technical aspects of film production, but also included film history and aesthetics. Apart from the recognised classics of world cinema, screenings organised in film clubs also presented experimental films. It is no wonder that the film club “Novi Sad” was originally called the film club “Slavko Vorkapić”, in honour of the American editor, director, film theorist and Professor at the University of South California. The experimental films of this man originating from Srem represented in the best possible way the kind of film that Vojvodinian film-makers strove to create. It was precisely the shift away from commercial narrative film and the ambition to uncompromisingly explore the boundaries of the medium of film that make film club activities very close to another movement, which also gained in momentum in America during the 1950’s. Even though American underground films, just like films created within the framework of film clubs, were characterised by a multitude of different approaches, in both cases we are dealing with authorial films in their most prominent form.

Merely making films is not enough, for they attain their full meaning when they are shown to an audience. For the development of the scene, both on the level of the state and speaking of individual authors who created within the framework of that scene, of key importance are film club festivals, and the first event of that kind in Vojvodina was held in 1954, under the title of The First Festival of Amateur Film of Vojvodina. Festivals and various interclub meetings made it possible for films to exert their influence outside their local surroundings, and provided affirmation to film authors on the level of the state, even though it might be only within the particular circle of the audience gathered around film clubs, most of whom were film authors themselves. The cumulative result of such initiatives was the creation of a functional scene which initiated in 1965, as its central event, The Interclub and Authorial Festival of Amateur Film [known under the acronym MAFAF]. That festival was held in Pula every year, immediately before the national festival of feature films. The authors Ivan Rakidžić from Pančevo and Artur Hofman from Sombor gained their first great affirmation

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precisely by participating in that festival, and the last MAFAF was held in 1990, on the eve of the break-up of Yugoslavia.

Even though 8mm film has existed since 1932, films made under the aegis of film club in the 1950’s and in the early 1960’s were filmed solely using the 16mm format, and it was only the appearance of the super 8 film in 1965 that almost entirely suppressed the 16mm format, which had in the meantime been accepted on television. The 16mm format is not the cheapest option when it comes to making amateur films, and that was why in every club there was a commission made up of older members who made a selection of scripts that were going to be filmed. There is no information that would indicate that censorship was being practised in this way, be it of the ideological or aesthetic variety, and there is no doubt that film club authors enjoyed a much greater degree of freedom in their work that authors who were part of the professional cinematography.

This absence of ideological censorship should be understood provisionally, first of all in the sense of a non-existence of a socialist realism canon that would impose glorification of socialist society as an imperative, and it is certain that any open manifestation of anticommunism would have been nipped in the bud. The break-up with the Soviet Union in 1948 undoubtedly had positive consequences, both on society as a whole and on the cultural climate in which new generations of film-makers and aficionados grew. Yugoslavia’s status of a Cold War anomaly, that is, of a buffer zone between two irreconcilable political blocs, was reflected on the programme of films being shown within the cinema network. The regular cinema network did not show amateur films, but it showed films from both the East and the West. As regards films from the capitalist bloc, it is worth noting that the Hollywood production, even though its films were the most numerous, took up a far lower percentage of the cinema repertoire, and films from various European cinematographies were present to a much greater extent than is the case today. It was particularly so in the case of great cinematographies such as those of Italy and France. Italian neorealism, the French New Wave, as well as Bergman’s and Kurosawa’s films, had no problems in reaching film audiences in Yugoslavia

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at that time, and even the films of the father of American independent film, John Cassavetes (Shadows, 1959), were regularly shown in the early 1960’s. The same holds true of films from the socialist bloc, with special emphasis being placed on Soviet, Polish and Czechoslovakian films. If we add to this the occasional screenings of Mexican, Brazilian and Indian movies, and the programmes of the “Yugoslav Film Museum”, it may be said that the Yugoslav cinema audience of the time was exceptionally well informed, both of the current developments in the world cinema and of its heritage.

Television stations were established first in Zagreb, in 1956, and then in Belgrade and Ljubljana, in 1958, and during the 1960’s the other republican centres established their own television studios. Initially, television had a limited influence on account of a small number of households that could afford a TV set; a mass-scale entry of TV sets into Yugoslav homes would occur in the second half of the 1960’s. Television brought along a number of new forms specific of this medium, of which the majority could not in any case be called art forms. Still, the greatest and the most important change that television brought was the shifting of the place of consuming moving pictures from the public sphere (the cinema) to the private sphere (the living room). The TV screen and its resolution are much smaller and lower than are those of the cinema screen, but the number of potential viewers in the former Yugoslavia increased by a factor of several dozen thousand times. Each individual screening of a film in a cinema could have an audience of several hundred viewers at best, whereas a single broadcast on television attracted an audience measured in millions. The objection raised by a number of film theorists and practitioners – that a cinema film broadcast on television is merely information about a film work, was certainly pertinent at the time, but the development of digital technology over the past two decades has relativised such views to a large degree. As regards the film programme of the Yugoslav television of that time, which did not have to compete for ratings with rival channels, for there existed only one, which, apart from the entertainment and propaganda function, was also supposed to educate its viewers, it relied to a great extent on films from the collection of the “Yugoslav Film Museum”. Thus

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the new medium of television became an additional channel for presenting the history of the oldest technology of moving pictures.

During the 1960’s and in the first half of the 1970’s, Vojvodina did not have its own television production, but the enthusiasm and mass membership that characterised film clubs received a new impetus through the establishment of the professional production house “Neoplanta” in Novi Sad in 1966. The film clubs in Novi Sad, Pančevo and Sombor were the most active and the best organised ones, and the Novi Sad club partly entered the sphere of professional cinematography as far back as the end of the 1950’s by producing films made for specific purposes. The catastrophic floods of 1966 made the Vojvodinian authorities feel the need to compile film documentation, and the film club “Novi Sad”, with its staff and equipment, was capable of fulfilling that need. While in other parts of Yugoslavia professional cinematography was created through state decrees, what happened in Vojvodina was that its political structures recognised the initiative coming from the base of society and made it official, thus providing it with legitimacy for professional film-making. The same holds true of “Pan film” from Pančevo, founded in 1971.

As early as 1968, the first feature film was made, entitled The Holy Sand, based on a script by the well-known writer Miroslav Antić, who was also the film’s director, while the director of photography was Petar Latinović. The two of them, apart from several short films, made another feature film in 1971 entitled Breakfast with the Devil. What characterises both these films is that they dealt with politically awkward topics from the not so recent past, and even though at that time they did not get the affirmation that they deserved, it is quite certain that they belong among the most important Yugoslav feature films.

Over a period of several years, “Neoplanta film” became recognised as a successful producer of documentary films, cartoons and feature films, and Branko Milošević, Petar Latinović, Slobodan Miletić, Srđan Ilić, Prvoslav Marić and Slavuj Hadžić, who had been members of the “Novi Sad” film club

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for many years, became the core of the newly established production house headed by Svetozar Udovički in the capacity of its manager. The filmography of this production house provides a telling testimony to the fact that it was open to authors from other parts of the country at the time. Dušan Makavejev from Belgrade and Karpo Godina from Slovenia, authors whose early film biographies stem from film clubs, working under the aegis of “Neoplanta film”, made some of the most important films, not only of that period but of Yugoslav cinematography as a whole. The documentary film Seasonal Workers ’70, made by Prvoslav Marić, shows that there were other authors from Novi Sad who could produce critically well received films. The new production house did not limit itself only to authors originating from film clubs, but also included in its activities talents from other spheres of art. In the period between 1969 and 1972, the painter, designer and illustrator Borislav Šajtinac rounded off an opus of cartoon films, which received a number of awards in the country and abroad, following which he continued his career in Germany. The Vranešević brothers began their career of many years, exceptionally fruitful and successful, as composers of film music. Still, the greatest achievements belong to an author who was a member of the “Novi Sad” film club for a relatively short period of time – Želimir Žilnik. In less than a decade, Žilnik turned from an almost anonymous amateur film-maker to the winner of one of the most prestigious world festivals of feature films. After a succession of well-noted socially engaged polemical documentary films, the then twenty-seven-year-old director made his first feature film entitled Early Works, which got him the Golden Bear award at the Berlin International Film Festival in 1969. Instead of a triumphant welcome back home, the winner of the Berlin festival was confronted with problems, a mud-slinging campaign in the press and an attempt to have his film banned by a court decision. The case of Early Works was merely a harbinger of what would happen in several years, when the League of Communists of Yugoslavia started its definitive showdown with what had in the meantime come to be referred to as the Black Wave of Yugoslav film. Judging by all appearances, the unprecedented success, within the framework of Yugoslav film, which the so-called Black Wave films achieved abroad only additionally irritated the conservative circles within the Party. In the revolutionary

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atmosphere of the 1960’s, the vast majority of young people in Western Europe and the United States of America tended towards various leftist political options. To leftists in the West, the Socialist Federal Republic of Yugoslavia represented a ray of hope, since they saw in it socialism with a human face, as opposed to the open totalitarianism practised by the Soviet Union, compromised by the brutal military interventions in Hungary in 1956, and in Czechoslovakia in 1968. Yugoslav films, which Western audiences were in a position to see at the time, only strengthened such beliefs. Radical both in terms of form and in terms of content, Black Wave films convincingly testified, better than any propaganda on the part of the state, of the degree of creative freedom which the film authors of the time had won for themselves. “Neoplanta film”, due to its production, represents an exceptionally important segment of the Black Wave phenomenon which must be taken into account; that is was understood as such abroad is testified to by a special programme made up of eleven films, solely those made by this Novi Sad production house, shown at the festival in Oberhausen in 1971, within the framework of a section intended for the purpose of presenting national cinematographies. Even today, the International Short Film Festival in Oberhausen (Internationale Kurzfilmtage Oberhausen) represents one of the most important platforms for the presentation of short films, and at the time of Black Wave, it was absolutely the most important short film festival in the world, and as such, it provided a springboard for the careers of many authors from Yugoslavia at the time. In 2004, this festival staged a retrospective of films made by Želimir Žilnik and Karpo Godina. The director of photography and editor of Early Works, Karpo Godina Aćimović, made the experimental film The Gratinée Brain of Pupilija Ferkeverk for “Neoplanta film” in 1970, and following this he produced a true masterpiece of short documentary film, entitled Healthy People for Fun in 1971, featuring music composed by Predrag Vranešević. Naško Križnar, together with the OHO group, made the experimental film White People.

Despite all this, the golden age of “Neoplanta film” was drawing to its close, and the event that proved too much for the patience of Vojvodinian communists was the appearance of Dušan Makavejev’s film entitled W. R. Mysteries of

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the Organism, made in 1971, dedicated to the life and ideas of the Austrian psychoanalyst Wilhelm Reich. Even though this film, on account of the controversy that surrounded it, was not shown in Yugoslavia, owing to its German co-producer, it was distributed throughout the world and even brought “Neoplanta film” considerable foreign exchange earnings every year. W. R. Mysteries of the Organism very soon acquired a cult status in global terms, and Dušan Makavejev, owing to this film and the rest of his opus, became a part of the innermost circle of representative directors of the world film of his time. His directorial method, which abundantly relies on combining archive documentary and fictional material, categorises him as one of the precursors of postmodernism. Today’s attempts aiming to stigmatise certain films, whether real or false – sometimes initiated by none other than their authors, wishing to gain additional publicity for their films – are only a pale shadow of the vehemence with which the Party attacked the most important protagonists of Black Wave. Over a relatively short period of time, Aleksandar Petrović lost his job as a Professor at the Department of Directing of the Faculty of Dramatic Arts in Belgrade and continued his career in Germany, Živojin Pavlović also lost his job as a Professor, Dušan Makavejev went to France and started an international career, making films in Holland, Sweden and Australia, and Želimir Žilnik went to Germany, where he made a succession of documentary films which received a number of awards, as well as one feature film. The manager of “Neoplanta film”, Svetislav Udovički, was sacked, and the new leadership tried very hard not to deviate from the Party line, which, after a little more than a decade, led to the collapse of “Neoplanta film”, for reasons that have nothing to do with ideology.

Yugoslav cinematography became the victim of social turmoil at a time when the authority of the League of Communists was threatened both from the left and from the right, as was the case during the student demonstrations of 1968, or the Croatian Mass Movement of 1971. The Party evidently felt the need to draw a very clear line distinguishing between what was acceptable and what was not. Thus the cinematographic revolution liquidated its own children. Problems did not bypass the “Pan film” company from Pančevo, which primarily focused on shorter

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forms, be it documentary films, cartoons or short feature films. The cartoon Road, made by Stevan Živkov in 1978, was banned, and the ban was in force until 1990, when it won the award for cartoon films at the Festival of Documentary and Short Film in Belgrade. In the voluminous filmography of Vojvodina’s other professional house, which was active from 1971 to 1991, the films that stand out are On a Swing, directed by Miloš Nikolić, who also provided the script, shown as part of the official programme of the Oberhausen festival in 1972, and also Uprising in Jasak by Želimir Žilnik, dating from 1973.

After the Party disposed of Black Wave, in a situation when only “socially acceptable” criticism was tolerated, the artist who managed to deal with it best was Karolj Viček, with his distanced view of the socialist/self-management Vojvodina, as it was then; his film Trophy, produced in 1979 by “Neoplanta film”, won the Golden Arena for the best film at the Festival of Feature Films in Pula. Still, the safest zone for film authors was the only autochthonous genre of socialist Yugoslavia – the National Liberation film, colloquially referred to as the Partisan film. There is a dose of belated irony in the fact that the nemesis of Vojvodinian feature films was incarnated in the figure of none other than Veljko Bulajić, a veteran of the Partisan film genre. A spectacle dealing with the National Liberation struggle in the region of Srem was supposed to give Vojvodina a great film epic on the Second World War. The Great Transport (1983), produced by “Neoplanta film”, was thought to represent an export trump card of Vojvodinian cinematography, in view of the fact that it had co-producers from the United States, and that a number of well-known domestic and foreign actors starred in it. The Autonomous Province of Vojvodina invested millions of dollars in what was supposed to be the apotheosis of the Liberation War, but these great ambitions ended up in very unpleasant litigation proceedings and the eventual folding up of “Neoplanta film”. On account of this, no feature film was produced in Vojvodina between 1985 and 1988. The swan song of “Neoplanta film” is a masterpiece Yugoslav film – Life Is Beautiful (1985), directed by Boro Drašković. This film, based on a story by Aleksandar Tišma, who participated in the writing of the script, deftly dissects our society, revealing rottenness and violence, which would

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destroy the country in a few years’ time. Life Is Beautiful was very well received within the framework of the official programme of the Venice Film Festival in 1985, and the actress Sonja Savić received a special award for her role.

Until 1976, Vojvodina participated in the phenomenon of Yugoslav television primarily in the role of an audience, but the initiation of Television Novi Sad entirely changed that situation over a relatively short period of time. Its development led to the production of moving pictures on an industrial level for the first time on the territory of the Autonomous Province. Before that, no production house produced programme on a daily basis, especially not in such quantities. The majority of that production did not belong to the realm of art, but the actual quantity of the programmes produced considerably influenced the spreading of the influence of the medium of moving pictures. The staff originating from film clubs initially made the backbone of the production teams working for TV Novi Sad, and soon afterwards there appeared a source of staff professionally educated at the university level. In the same year when TV Novi Sad started broadcasting, the Department of Intermedia Direction started operating at the Novi Sad Academy of the Arts, and by 1980, the first generation of students had graduated in the class of Professor Boro Drašković. In the meantime, the direction class of Professor Vlatko Gilić had also started working. The studies of direction were conceived on an intermedia basis and, contrary to the traditionally separated studies of direction, within the framework of which theatrical and radio direction were studied separately from film and TV direction, students of the Novi Sad Academy of the Arts dealt with all of the four media mentioned above. Those graduate directors whose work was not focused on the theatre mainly tied their careers to Radio Television Novi Sad, working within the framework of the editorial staff in the Documentary-feuilleton-educational Programme or the Cultural-artistic Programme. Apart from the Documentary Programme, the Drama Programme of TV Novi Sad was the one where graduate directors were most in demand; in the form of TV drama, the latter produced feature films that were no so very demanding in terms of production, and it was under its aegis that the then graduates of the

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Novi Sad Academy of the Arts Jan Makan and Eva Balaž made their 1985 TV films Miša and Miklošić’s Sirenes. It was for TV Novi Sad that Karolj Viček made what, in the opinion of many, is his best film – Knife Thrower. Regardless of the very significant pioneering work of Professor Bogdanka Poznanović, who, as early as 1979, started being in charge of the subject Intermedia Research, within the framework of which students of the Fine Arts Department of the Novi Sad Academy of Arts made video works, in the 1980’s video art in Novi Sad did not gain the sort of impetus that it had in Ljubljana and Zagreb. Editors of TV Novi Sad were not very partial to video art and media experimentation, an exception to this being the works of the Vranešević brothers, who managed to carve out a niche for themselves in the new media house. In complete contrast to the mass membership of film clubs, dealing with video art in Vojvodina during the 1970’s and 1980’s was limited to a small number of practitioners such as Bogdanka Poznanović, Katalin Ladik or Predrag Šiđanin, who mainly realised their projects outside the biggest media house in Vojvodina. It was only towards the end of the 1980’s that a larger number of students opted for continuous work in the sphere of the video, and Dragan Živančević, having completed his studies at the Novi Sad Academy of the Arts, produced a succession of well-noted works during the course of the 1990’s.

Following the closure of “Neoplanta film”, Novi Sad got a new professional production house called “Terra film”, which took over the premises, archive and equipment of “Neoplanta film”. By 1992, apart from a number of short films, “Terra film” had produced three feature films – That’s How the Steel Was Tempered, directed by Želimir Žilnik, Borderline, directed by Zoran Maširević, Tito and Me, directed by Goran Marković, and following the abolition of the Self-management Community of Interest for Culture and the cessation of financing cinematography in Vojvodina, it continued to vegetate through the 1990’s.

In total contrast to the media preparations for war, when Želimir Žilnik became the Editor-in-Chief of the Cultural-artistic Programme during the final year of peace, TV Novi Sad became, as never before, a house wherein it was possible to

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realise art projects. Very soon, they started making TV films dedicated to the best-known protagonists of the Novi Sad conceptual scene from the end of the 1960’s and the early 1970’s, who suffered a fate that was in many respects worse than that suffered by the protagonists of Black Wave. The awards that those TV films received at the Festival of Yugoslav Radio Television in Neum (Macedonia) and the Festival of Documentary and Short Film in Belgrade only add to Žilnik’s impressive authorial biography and references as a successful producer. That period in the work of TV Novi Sad lasted until the end of 1992, when Žilnik resigned from the post of the Editor-in-Chief, and in a country surrounded by war, television programmes were dominated by news programmes and the propaganda coming from the state leadership.

In the final decade of the 20th century, film clubs were a thing of the distant past, and what gave a fresh impetus to alternative productions was the technological development and entry of computers into the domain of editing and processing the picture and sound. The video Good Evening, dating from 1996, produced the Artistic Association Absolute, is an example of a work which thoroughly investigated the possibilities of digital editing. The appearance of computers which made it possible to edit recorded material and process the sound, as well as new digital formats and cameras, greatly contributed to the fact that the production of moving pictures was no longer the privilege of specialised studios. This tendency very much diminished the importance of Television Novi Sad, which, until then, had a virtual production monopoly on the territory of the Autonomous Province. The appearance of private and local TV stations divided the once unified audience, and the majority of viewers turned to big commercial televisions and their vision of popular entertainment.

As a consequence of the changes that occurred in our country after the year 2000, the Autonomous Province of Vojvodina started financing film-making again. The initial encouraging moves enabled a number of direction graduates from the Novi Sad Academy of the Arts, such as Szabolcs Tolnai, Marin Malešević and Miloš Pušić, to make their well-noted debut films. The positive impulses manifested in

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the support to making feature films were lost over the next several years due to the practice of symbolic financing of several projects per year, whereby the cultural policy of the Autonomous Province of Vojvodina was reduced to a merely formal support to the survival of Vojvodinian cinematography.

The digitalisation of the traditional media caused a convergence of the media, and the contents which had been connected with individual media in the past are now available, owing to the Internet, on a large number of diverse gadgets that, until two decades ago, did not even exist. Today, video cameras are available, owing to cell phones, to the broadest strata of the population, which elevates or lowers dealing with the video, depending on one’s point of view, to the level of popular art. As a consequence of the mass scale and availability of equipment for recording moving pictures and sound, which was not to be found at the time of the greatest expansion of film clubs, now the tool required for producing moving pictures is in the hands of millions of citizens, and the exclusivity of creating moving pictures, which characterised the pioneers of film, is lost in a world where everyone can make a film commensurate with his/her knowledge and talent. At the same time, this heterogeneous group, different in terms of education, age, origin and mentality, has at its disposal a global channel for distribution and presentation – the Internet. This global network has by now sucked into itself all the other media, and moving pictures, at first unassumingly, through animated GIFs, entered the content of web pages, and owing to the speeding up of the network, they entirely fulfilled the expectations concerning the concept which was theoretically developed towards the end of the 1980’s – video on demand, that is, when the viewer can choose him/herself which particular video content he/she wishes to watch in real time, with almost instantaneous access. Owing to the entry of the video into the Internet, be it in the form of YouTube or commercials and video clips within the framework of on-line editions of newspapers, moving pictures are now more available to us than ever, and influence our understanding of reality to a greater degree by far. At this moment in time, no one can foresee with certainty how things will develop in the future, but it is quite certain that on account of technological progress the picture and the sound will be increasingly superior, and that new ways and forms of using moving pictures will keep appearing.

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Projekat Tehnologija narodu! Film i video u Vojvodini (2013) bio je koncipiran kao istraživanje čiji su rezultati predstavljeni kroz program izložbe, filmske projekcije, niza predavanja, prezentacija i razgovora s filmskim i video autorima. Ovaj program je kroz različite forme prezentacije pokušao da pruži posetiocima uvid u specifične uslove i kontekste proizvodnje i promišljanja u mediju filma, videa i televizije – objedinjeno pojmom pokretne slike. Projekat se bavio analizom opštih i specifičnih režima pokretnih slika u mreži tehnoloških skokova, društvenih ideja i političkih moći, ali je ujedno pokušao da otvori širu diskusiju o efektima digitalizacije na (van) institucionalne prakse (re)konstruisanja istorije (umetnosti). Korišćeni su mnogobrojni paradigmatični primeri filmskih i video produkcija (preko stotinu), raznovrsna fotografska dokumentacija i periodika, kao i tehnička oprema za snimanje, montažu i projektovanje, iz različitih istorijskih konteksta područja Vojvodine tokom XX i XXI veka.

Osnovna ideja projekta Tehnologija narodu! Film i video u Vojvodini (2013) je da iz perspektive kustoske prakse i istraživanja predstavi kontekste, diverzitet praksi i produkcija, značajne prostore i manifestacije sticanja i razmene znanja o pokretnoj slici (pre svega, filmu i videu) u regionu Vojvodine od pojave filma krajem XIX veka do kraja prve decenije XX veka. Istorija filma je sagledana kao deo šireg korpusa razvoja medijske kulture. Kao glavni kvalitet u valorizaciji produkcija izdvojena je invencija u filmskom jeziku i tehnologiji i eksperimentalan pristup u radu na filmu i videu koji su pomerali ili rušili dotadašnje konvencije samog medija pokretnih slika. Kao glavni proces s društvenom implikacijom

Gordana Nikolić

TEHNOLOGIJA NARODU! FILMSKE I VIDEO PRAKSE U VOJVODINI

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mapiramo tzv. demokratizaciju pokretnih slika koja je u usponu nakon Drugog svetskog rata. Program širenja filmske kulture u narodu sa osnivanjem mreže kino klubova i bioskopa u socijalističkoj Jugoslaviji, pored tehnologije, omogućila je kulturna politika socijalističkog uređenja u Jugoslaviji. Kultura kino klubova na mapi istorije filma i videa predstavljala je rasadnik praksi i ideja za kasniju kinematografiju u različitim organizacijskim, finansijskim i idejnim okolnostima (profesionalna, amaterska, samoorganizovana, niskobudžetna, bezbudžetna produkcija i dr).

Projekat su inicirali i koncepcijski osmislili Gordana Nikolić (viša kustoskinja Muzeja savremene umetnosti Vojvodine) i Aleksandar Davić (reditelj i profesor filmske i pozorišne režije na Akademiji umetnosti Novi Sad i profesor na predmetu Digitalni video na Univerzitetu umetnosti Beograd) 2011. godine. Projekat i izložba Tehnologija narodu! Film i video u Vojvodi realizovani su u periodu od 19. februara do 14. aprila 2013. godine u Muzeju savremene umetnosti Vojvodine u Novom Sadu.

Konteksti i metodologija projekta

Teritorija Vojvodine je od kraja XIX veka do danas bila u sastavu različitih država i izdvaja se kao karakterističan melting pot različitih kulturnih uticaja kroz smene političkih sistema, dominacije određenih ideologija, organizacije rada i društvenih/klasnih odnosa u okviru kojih analiziramo pokretne slike: Vojvodina u sastavu Austro-Ugarske monarhije; međuratni kontekst Kraljevine Jugoslavije (Kraljevina SHS od 1918. do 1929); socijalistička Jugoslavija nakon 1945. godine i period socijalističkog samoupravljanja; tranzicijski i postsocijalistički period država-republika nekadašnje Jugoslavije od početka 1990-ih godina.

Iako skiciramo filmske prakse od pojave filma na prostoru Vojvodine do danas, fokus je usmeren ka periodu nakon Drugog svetskog rata u bivšoj Jugoslaviji kada filmska umetnost dobija na značaju. U socijalističkoj Jugoslaviji (FNRJ/SFRJ) kinematografija je nacionalizovana i usmerena ka intenzivnom radu na

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razvoju infrastrukture filmske industrije u okviru republika – članica federacije. Tokom pedesetih godina, i kasnije, zvanične politike su favorizovale filmski izraz, što je uslovilo i diferenciranje profesionalizma i tzv. amaterizma u filmu. U tim procesima, tzv. amaterizam je marginalizovan u sferu kino klubova i time se relativno liberalizovao prostor za akciju i umetničke eksperimente u oblasti filma. Mreža kino klubova u svakom većem gradu tadašnje države imala je didaktičku i emancipatorsku svrhu koja se ukratko može skicirati socijalističkom parolom Tehnika narodu, zasnovanoj na egalitarističkoj utopiji približavanja tehničke kulture radnom narodu.

Do kraja šezdesetih godina XX veka jugoslovenska filmska industrija produkcijama igranih filmova dostiže kvantitativni uspon i značajniji internacionalni vizibilitet istovremeno sa liberalizacijom filmskog sadržaja i izraza. Liberalizacija je podrazumevala zahtev filmskih autora za eksperimentisanjem u filmskoj formi i jeziku, kao i osetljivost za savremene društvene teme i agilnu društvenu kritiku.

Primena modela socijalističkog samoupravljanja u kulturi može se analizirati i u organizaciji udruženog rada određenih filmskih preduzeća i modernizaciji uslova proizvodnje, koji se, između ostalog, vezuju za relativno otvaranje tadašnjih kulturnih politika ka tržišnom modelu poslovanja (npr. “Neoplanta film” u Novom Sadu). Pomenuti aranžmani su iznedrili i neke od antologijskih filmskih ostvarenja, tada stigmatizovanih etiketom tzv. crnog talasa, pozicioniranih na kontradikciji internacionalnog uspeha i državnog aparata koji je, bez zabrane, zabranjivao javna prikazivanja (npr. film Rani radovi Ž. Žilnika ili WR: Misterije organizma D. Makavejeva).

Takođe, autonomni i marginalni prostori produkcije znanja i rada na filmu i videu, otkrivani u nišama oficijelnog sistema, kao što su nezavisne, niskobudžetne ili bezbudžetne produkcije, neoavangardni eksperimenti ili savremene uradi-to-sam prakse, često su usmeravali dalje procese u polju inovacija. Upravo ta situacija nam je otvorila mogućnost da relativizujemo tradicionalne distinkcije između profesionalizma i amaterizma i pokušamo da lociramo mesta, aktere, produkcije,

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događaje koji su doprineli novom promišljanju tehnologije i medija i njihovoj društvenoj ulozi u okviru određenog geopolitičkog konteksta Vojvodine.

Metodologija projekta je determinisana opštom genealogijom tehnologije i istorije medija, što projekat u značajnoj meri čini istoričnim. Prikazana hronologija koja se vezuje za filmsku i video produkciju selektivno je korišćena iz dostupnih istoriografskih izvora, a dopunjena iz usmenih izvora - intervjuisanjem filmskih autora, radnika u kulturi, teoretičara i istraživača.

Filmske, video i TV prakse u Vojvodini

Prvi filmski događaj u Vojvodini, prema dostupnim podacima, locira se u 1896. godinu sa prvom filmskom predstavom1 održanom 7. novembra (ili 26. i 27. oktobra po starom kalendaru) u Novom Sadu. Početkom naredne godine, u Beogradu je prikazan film Dolazak vlaka u novosadsku železničku stanicu koji se, prema dostupnim istorijskim izvorima, smatra najranijim poznatim filmskim dokumentom koji je snimljen na području Vojvodine. Prostorom nekadašnje Austrougarske monarhije krajem XIX i početkom XX veka krstarili su vlasnici putujućih kinematografa – putujućih prikazivača pokretnih slika – i donosili prva bioskopska iskustva stanovništvu čak i u zabačena mesta na obodu provincije. Vlasnici putujućih kinematografa su bili među prvim stvaraocima filmskih zapisa, kao i Ernest Bošnjak i Aleksandar Lifka - pioniri filma, entuzijasti i vizionari koji su imali svoje bioskope i preduzeća za prikazivanje i distribuciju filmova.

Ove putujuće bioskopske predstave su anticipirale i buduću bioskopsku mrežu, koja je od osnivanja prvog stalnog bioskopa u Somboru 1906. godine, do kraja Prvog svetskog rata brojala preko trideset stalnih bioskopa u Vojvodini2, što

1 Kosanović ocenjuje da je reč o kombinovanoj predstavi u okviru koje su, pored dijapozitiva, prikazivani filmski snimci. Kosanović, Dejan. (1985). Počeci kinematogra je na tlu Jugoslavije 1896–1918. Beograd: Institut za film, Univerzitet umetnosti. str. 193-194.2 Prvi pravi bioskop “Apolo” Novi Sad dobija 1910. godine. Samo tokom Prvog svetskog rata je otvoreno deset bioskopa. Pred početak rata proradio je i bioskop „Korzo“ u Zmaj Jovinoj ulici 4. Po završetku Prvog svetskog rata nastavljeno je otvaranje bioskopa, pa je u dvorištu hotela „Sloboda” (današnja „Vojvođanska

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svedoči o brzini kojom su se bioskopska publika i tržište uvećavali, za razliku od ostalih delova današnje teritorije Srbije. Aleksandar Lifka, nakon decenije karijere sa putujućim “Elektro-bioskopom Lifka”, nastanio se u Subotici, gde je otvorio stalni bioskop “Lifka mozi” 1911. godine i započeo s realizacijom dokumentarnih filmova o lokalnim sadržajima. Štampani mediji su reklamirali i najavljivali termine bioskopskih predstava, a pisanje o filmu je ubrzo poprimilo i formu kritike3.

Rani ili pionirski period filma (1986–1918), kad je oprema za snimanje predstavljala i više od luksuza, reflektuje i uslovljenost i zavisnost prvih aktivnosti u mediju filma od tadašnje društvene elite. Tadašnja buržoazija, fascinirana novim filmskim medijem, uz dostupne resurse i društvene privilegije, omogućila je i prikupljanje donacija za rad prvih kino klubova. Između ostalog, pioniri filma su neretko poticali iz imućnih porodica preduzetnika i trgovaca, pa su im tehnika, a time i realizacija filmova, bili dostupniji. Realizaciju prve lokalne (filmske) produkcije u Vojvodini omogućilo je osnivanje “Novosadskog / Újvidéki foto-kluba” 1901. godine koji se, pored svoje osnovne fotografske delatnosti, bavio i filmom. Tako je već 1902. godine snimljen i prvi film lokalne produkcije o Paliću koji je, između ostalog, nastao iz namene promovisanja turizma u regionu. Ernest Bošnjak iz Sombora je nabavio filmsku kameru 1909. godine i započeo snimanje jednog od čuvenih projekata zasnovanog na mitologiji, U državi Tepsihore, koji je do danas ostao izgubljen.

Nitratni film je, uglavnom zbog lake zapaljivosti nitratne trake, kao i usled ratnih vihora i zuba vremena, ostao u malom broju sačuvan, pa o pionirima filma i njihovim filmskim delima saznajemo u najvećem broju slučajeva iz novinskih članaka ili drugih oskudnih pisanih izvora, tako da o filmovima pionira Vladimira Totovića iz Novog Sada možemo samo da nagađamo na osnovu

banka”na Trgu slobode) otvoren „Odeon“, a zatim i „Luksor“, brzo preimenovan u „Rojal“ u ulici Jovana Subotića. U sklopu Tanurdžićeve palate proradio je „Reks “, zatim 1940. godine i „Palas” (današnji „Jadran“), a u nemačkom Kulturbundu na uglu sadašnjih ulica Vase Stajića i Trga galerija bioskop „Uranija“. http://www.blic.rs/vesti/vojvodina/bioskopi-pretvarani-u-magacine-i-trzne-centre/vw8yqdb3 Članak novinara Žarka Ognjanovića O bioskopu objavljen u novosadskom Braniku oktobra 1910. godine najavljuje početak kritičkog pisanja o filmu.

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skromnih pisanih tragova (novinskih članaka i privatne prepiske s bratom), jer filmovi nisu sačuvani. Totović je kao sedamnaestogodišnjak režirao dva igrana filma (potpisuje ih i kao producent i glumac), Spasilac (1917) i Lopov kao detektiv (1916), a glumio je i u Budimpešti i Beču4. Mobilizacija i pogibija na frontu u Soči 1917. godine su tragično prekinuli njegovu filmsku karijeru u zamahu. S druge strane, Otkrivanje spomenika Ferencu Rakociju iz 1912. godine Ernesta Bošnjaka je jedan od retkih ranih filmskih svedočanstava koji su sačuvani i predstavlja, pored rada u tada novom mediju, i vredan istorijski dokument o beleženju lokalnih događaja.

U Kraljevini SHS (Jugoslaviji) država je proizvodnju filmova smatrala komercijalnom delatnošću i zbog toga joj nije pružala finansijsku podršku. Na nepovoljan položaj kinematografije ukazuje i činjenica da domaće tržište nije bilo zaštićeno od dominacije američkih i nemačkih filmova na bioskopskim repertoarima5. Zaustavljen ratom u svojim ambicijama, nakon rata Ernest Bošnjak realizuje svoj san o fabrici za proizvodnju filmova osnivanjem kuće “Boer film” u Somboru 1923. godine i saradnjom sa internacionalnom ekipom članova u kojoj su bili i Bela Fabijan (rođen u Budimpešti) i Nemac Vilhelm Rendelštajn. U produkciji “Boer filma” nastaje film Probne snimke Prve jugoslovenske tvornice filmova (1924) koji je jedini u celosti sačuvan, a ”Boer film” je do 1926. godine, kada prestaje s radom, proizveo još tri igrana filma i jednu crtanu reklamu. Probne snimke Prve jugoslovenske tvornice filmova, upravo zbog svoje osnovne funkcije da

4 U filmovima značajnog bečkog producenta, Aleksandra Saše Kolovarata. 5 A. Davić u svom tekstu Film u Vojvodini referiše na Zakon o uređenju prometa filmova iz 1931. godine koji je sadržao obavezujuću odredbu za bioskope da 15% repertoara mora biti sastavljeno od domaćih filmova, ali je ta odredba ukinuta 1933. U globalnom kontekstu, film u Evropi, Americi i Japanu od pionirskih pokušaja do Prvog svetskog rata ubrzo narasta u moćnu profitabilnu industriju sa širokim registrom filmskih delatnosti. Taj nivo produkcije u austrougarskoj Vojvodini se nije dogodio, a to neće biti slučaj ni u periodu kada Vojvodina postaje deo Kraljevine SHS (Jugoslavije) od 1918. godine. Rat je izazvao zastoj ove delatnosti u Evropi, dok je u Americi filmska industrija nesmetano rasla, a filmovi postajali duži i jezik filma kompleksniji. Analitička naracija u filmu postaje konvencija narativnog filma i inauguriše, do tada samo tehnički, postupak montaže u umetnički proces od ključnog značaja za film u celini. Američki filmski studiji se sele u osunčanu Kaliforniju i ubrzo njihovim integrisanjem u veće kompanije nastaju holivudski filmski studiji tokom 1920-ih godina, a ubrzo i njihova ekspanzija na inostrana tržišta. U Evropi, jedino je nemačka UFA potpomognuta državom, industrijom i bankama bila njihov konkurent.

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zabeleži kasting glumaca, ima relaksiraniji pristup u odnosu na unapred režirane filmske narative i ostavlja utisak eksperimentalnog umetničkog projekta.

Značajan i zanimljiv je podatak o korišćenju kino tehnike u vojne svrhe u periodu između dva svetska rata. Reč je o uvođenju kino kamere (fotomitraljez) za snimanje iz vazduha kao nastavnog sredstva, koje je bilo deo standardne obuke pilota (vazduhoplovaca izviđača), u prvoj Vazduhoplovnoj školi osnovanoj početkom 1920-ih u Novom Sadu6. U istom periodu, planinarsko društvo “Fruška gora”, pored svoje osnovne izviđačke aktivnosti i aktivne uloge u diseminaciji komunističkih ideja i pripremi za odbranu zemlje pred Drugi svetski rat, sa osnivanjem kino sekcije postaje i centar okupljanja ljubitelja filma. Članovi sekcije dr Žarko Kapamadžija i Karl Šafer snimili su film Skijanje na Fruškoj Gori (16mm) 1934. godine, koji se smatra za sada najstarijim filmskim dokumentom lokalne produkcije koji je snimljen u koloru (jedan deo filma)7. Ovakve sekcije bile su tek nagoveštaj kolektiviteta masovnog pokreta kinoamaterizma i mreže kino klubova koja će se raširiti od početka 1950-ih godina u socijalističkoj Jugoslaviji. Kinoamaterizam se odnosi na bavljenje filmom koje nema komercijalne ambicije.

Jedan od međuratnih kinoamatera je bio Rodoljub Malenčić, šef saobraćajnog odeljenja policije u Novom Sadu, koji je autor kratkog pro-holivudskog igranog nemog filma akcije Hepi end iz 1929. (na 16mm). Iz međuratnog perioda, sačuvani su živopisni i zabavni dokumentarni zapisi različitih aktivnosti i manifestacija sa vojvođanske periferije, od kojih je verovatno najuzbudljiviji film Karneval u Beloj Crkvi u produkciji Jadran filma iz 1930. godine. Snimljeni karneval ostavlja utisak nadrealne parade sa dugačkom seoskom kolonom različito kostimiranih ljudi i raskošno ukrašenih objekata poput kočija koje vuku ogroman čamac u obliku labuda. Istom registru dokumentaristike pripada i žurnal Izbor lepotice na Paliću iz 1930. godine, prikazan na izložbi, koji potpisuje Novaković film. Iz ratnog

6 Ova okolnost je uticala na pojavu lokalnih snabdevača vojske filmskim trakama za fotomitraljeze. Npr. prodavnica “Barta i drug” u Dunavskoj ulici u Novom Sadu. Izvor: usmeni intervju, Mika Putnik.7 Direktor arhiva Kulturnog centra Pančevo Staniša Radišić je prilikom digitalizacije filmskog materijala Kino kluba Pančevo i Panfilma, slučajno pronašao rolne filma Skijanje na Fruškoj gori u jednoj kutiji.

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perioda, od velikog istorijskog značaja su dokumentarni zapisi ratnih događaja Lazara Velickog poput filma Aprilski rat 1941. u Petrovaradinu.

Nakon Drugog svetskog rata, u socijalističkoj Jugoslaviji, uporedo sa podrškom profesionalnoj kinematogafiji, država osniva i mrežu kino klubova u okviru organizacije “Narodne tehnike Jugoslavije”, koja obuhvata najšire slojeve stanovništva zainteresovane za tehničku kulturu. Skoro svaka mesna zajednica je imala svoj kino klub i ova okolnost je uslovila najraznovrsnije produkcije različitog kvaliteta i istraživanje samih granica filma. Kinematografske aktivnosti su se prvo odvijale u okviru Komisije “Tehnika i sport” osnovane 1946. pri “Fiskulturnom savezu Jugoslavije”, a zatim je 1948. godine formirana samostalna organizacija “Narodna tehnika”, koja je obuhvatala i prve klubove mladih tehničara u školama (dečije i omladinske kino klubove). Upravo iz ovog konteksta deceniju kasnije datiraju dve zanimljive fotografije predstavljene na izložbi, koje prikazuju đake osnovne škole “Đorđe Natošević” iz Novog Sada tokom rada u školskoj kino sekciji Ogled. Ova istorijska okolnost svedoči o kinematografskoj revoluciji koju je podstakla nova komunistička vlast, kao i o njenom sasvim drukčijem odnosu prema filmu od predratne vlasti. Pored propagandnih kapaciteta filma koje je komunistička vlast prepoznala i obilato koristila, komunistička vlast po prvi put smatra da je film umetnost, ako ne i najvažnija umetnost8. Prvi problem sa kojim se suočio kino klub je tehnička oprema za snimanje filmova, tako su prve filmske kamere ušle u klub zahvaljujući bogatijim građanima koji su donirali “trofejnu” tehniku nasleđenu od nemačke vojske nakon završetka Drugog svetskog rata. Predsednici prvih kino klubova i foto klubova su uglavnom bili iz vojnih struktura, jer su bili na poziciji koja im je omogućavala da obezbede sredstva za rad.

U Novom Sadu je 1951. godine osnovan kino klub koji je prvih godinu dana nosio ime po američkom montažeru, reditelju, teoretičaru i profesoru, rođenim u Sremu, sa karijerom u Holivudu - Slavku Vorkapiću. Prvi filmski zapisi kino

8 Još je ruska revolucija proglasila film za najvažniju umetnost. U duhu starog utilitarističkog koncepta, film je bio shvaćen kao jedan od glavnih instrumenata obrazovanja, prosvećenja i propagande. Vidi u: Lim, M. i Antonjin Lim (2006). Najvažnija umetnost. Istočnoevropski film u dvadesetom veku. Beograd: Clio.

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klubova su bili uglavnom filmski žurnali. Kasnije sve uzbudljiviji eksperimenti i autorski pristupi u mediju filma postaju karakteristični za produkcije kino klubova koja je bila nekomercijalna po svom osnovnom usmerenju. Među ranim članovima “Kino kluba Novi Sad” ističu se Borivoj Mirosavljević, Petar Latinović, Slobodan Miletić, Srđan Ilić i ostali.

Filmovi Borivoja Mirosavljevića iz pedesetih godina Iz albuma saobraćajca iz 1956. godine, Tragom krvave tajne i Sanjivi Gaučo iz 1957. godine predstavljaju važno svedočanstvo o kinoamaterskoj produkciji koja nosi sve elemente igranog filma akcije često pod uticajem američkih vestern filmova. Kinoamaterizam se razvija u nišama kinematografskog sistema u kom je pažnja države bila usmerena ka profesionalnoj kinematografiji i njenim propagandnim mogućnostima. Upravo je ova situacija omogućila slobodu u radu i istraživanju filmskog medija u kino klubovima, a festivali amaterskog filma su omogućili afirmisanje autora i međuklupsko povezivanje. “Prvi festival amaterskog filma Vojvodine” je održan 1954. godine, a 1965. godine MAFAF ili “Međuklupski i autorski festival amaterskog filma” u Puli je uzdigao vizibilitet kinoamaterske scene na nivo cele države. Neki od autora iz Vojvodine su se afirmisali upravo preko ovakvih manifestacija, kao što su Ivan Rakidžić iz Pančeva i Artur Hofman iz Sombora. Film Ivana Rakidžića Proleće je došlo u stan mog brata Čarlija iz 1966. godine, nagrađen u Puli, jedan je od istaknutih primera umetničkog eksperimentalnog filma u kinoamaterskoj produkciji iz tog vremena.

Iako su najaktivniji u Vojvodini bili kino klubovi iz Novog Sada, Pančeva i Sombora, i ostali kino klubovi su realizovali raznovrsnu filmsku produkciju i imali svoje zvezde entuzijaste. Milivoj Unuković iz sela Omoljice kod Kovina u svojoj filmografiji broji preko stotinu snimljenih filmova, a njegov rad se vezuje za “Kino klub Omoljica” i festival amaterskog filma na temu života na selu “Žisel” osnovanog 1971. godine, iste godine kad je osnovan i jedan od najvećih filmskih festivala FEST u Beogradu.

Raskid Jugoslavije sa Informbiroom 1948. godine i udaljavanje od Istočnog bloka, otvorilo je vrata za upliv, kao i uticaj američkih i zapadnoevropskih sadržaja u

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popularnu kulturu i visoku umetnost. Neutralnost političke pozicije socijalističke Jugoslavije u hladnoratovskom ambijentu se odrazila i na otvorenost zemlje prema kinematografijama iz oba bloka9. Pored kino klubova, bioskopi su tako vršili važnu edukaciju nove generacije sineasta koji će kasnije ostvariti karijere u profesionalnim filmskim kućama.

“Kino klub Novi Sad” je proizvodio i namenske filmove, kao što je dokumentarni film o poplavama u Novom Sadu 1966. godine. Ova godina predstavlja i prekretnicu u profesionalizaciji filmske produkcije. Uz odobrenje političkih struktura Vojvodine, osnovana je prva profesionalna producentska kuća “Neoplanta film” 1966. godine u Novom Sadu. Pet godina kasnije je osnovana i druga profesionalna filmska kuća “Panfilm” u Pančevu. Prvi stručni kadar sineasta u ovim producentskim kućama su činili članovi kino klubova. U slučaju kuće “Neoplanta film”, to su bili Branko Milošević, Petar Latinović, Slobodan Miletić, Srđan Ilić, Prvoslav Marić i Slavuj Hadžić, predvođeni direktorom Svetislavom Udovičkim. U produkciji ove filmske kuće su nastala žanrovski raznovrsna filmska dela, od kratkometražnog autorskog filma, preko dokumentarnog i animiranog filma, do kompleksnih dugometražnih igranih filmskih produkcija. Kratak petogodišnji period od osnivanja “Neoplante” 1966. do 1971. godine se smatra zlatnim godinama ove kuće upravo zbog plodnosti produkcija, diverziteta, eksperimentacije i inovativnosti filmskih jezika. Neke od tih produkcija danas predstavljaju antologijska ostvarenja jugoslovenske kinematografije nagrađena mnogobrojnim međunarodnim priznanjima. Jedan od najistaknutijih autora iz Vojvodine, i svakako jedan od najznačajnijih jugoslovenskih reditelja, Želimir Žilnik je počeo amaterski da se bavi filmom u “Kino klubu Novi Sad”, a ubrzo zatim u okviru profesionalne kinematografije u produkciji kuće “Neoplanta film”. Njegova prva ostvarenja realizovana u “Neoplanti” su dokumentarni kratkometražni filmovi, među kojima se ističu epizoda iz života seoske zajednice u filmu Žurnal o omladini na selu, zimi iz 1967. i potretisanje ljudi bez posla u vreme sprovođenja privredne reforme u filmu

9 Bioskopski repertoari su, u odnosu na holivudske produkcije i Kurosavine filmove, prikazivali znatno više zapadnoevropski i istočnoevropski film – italijanski, francuski, sovjetski, češki, poljski, a ponekad i latinoameričke ili indijske produkcije.

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Nezaposleni ljudi 1968. godine, koji je osvojio prvu nagradu na “Internacionalnom festivalu kratkog filma u Oberhauzenu” u Nemačkoj (Internationale Kurzfilmtage Oberhausen). Festival u Oberhauzenu je i danas jedan od najrelevantnijih internacionalnih festivalskih platformi za kratkometražnu filmsku produkciju. Značajan broj jugoslovenskih autora je svoju internacionalnu afirmaciju ostvarilo upravo na ovom festivalu. Od autora kratkometražnih filmova nagrađenih u Oberhauzenu istakao se Prvoslav Marić sa dokumentarnim filmom o sezonskim radnicima 1970-te sezonci, a ilustrator i crtač Borislav Šajtinac je animirani film pretvorio u suptilnu umetnost satire poput izuzetnog ostvarenja Nije ptica sve što leti iz 1968. godine.

U produkciji “Neoplanta filma” su snimljeni filmovi značajnih autora sa prostora Jugoslavije od kojih se izdvajaju eksperimentalni film Gratinirani mozak Pupilije Ferkeverk iz 1970. godine Karpa Aćimovića Godine iz Slovenije i živopisno remek delo Zdravi ljudi za razonodu iz 1971. godine istog autora o multietničnosti Vojvodine, kratki dokumentarni film za koji je muziku komponovao Peđa Vranešević. Konceptualna umetnička grupa OHO iz Slovenije učestvuje u eksperimentalnom filmu performansu Beli ljudi koji potpisuje Naško Križnar.

Dugometražni igrani film je zastupljen u filmografiji kuće “Neoplanta film” od njenog osnivanja. Miroslav Antić, u ulozi scenariste i reditelja, i Petar Latinović, direktor fotografije, snimili su politički delikatne filmove Sveti pesak 1968. i Doručak sa đavolom 1971. godine. Želimir Žilnik snima svoj debitantski dugometražni igrani film Rani radovi 1969. godine, antologijsko delo jugoslovenske kinematografije, i osvaja prestižnog Zlatnog medveda na “Berlinskom internacionalnom festivalu filma”. Međutim, po povratku kući lokalna štampa demonizuje Žilnika, nakon čega je usledio i buran sudski proces protiv ovog reditelja. Žilnikov rediteljski senzibilitet i interesovanje za savremene društvene teme i živote ljudi sa društvene margine, marksistička odrednica u angažovanoj društvenoj kritici (samokritici), pripada registru različitih tema i filmskih jezika prisutnih u filmovima jugoslovenskih reditelja takozvanog crnog talasa. Prvih pet godina postojanja producentske kuće “Neoplanta film” predstavlja važno mesto za izučavanje fenomena crnog talasa. Atmosfera

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linča filmskih autora će kulminirati u pravi obračun tadašnje vlasti sa crnim talasom nakon izlaska filma WR Misterije organizma Dušana Makavejeva 1971. godine u produkciji “Neoplanta filma”. Film je bio zabranjen za prikazivanje u zemlji, ali je zbog koprodukcijske saradnje sa nemačkom filmskom kućom ipak bio distribuiran u svetu i doživeo uspeh i tada već dobio kultni status. Pored, i za današnje okvire, provokativnog sadržaja koji referiše na austrijskog psihoanalitičara i seksologa Vilhelma Rajha (Wilhelm Reich) i na njegovu orgonsku terapiju, naracija filma se oslanja na radikalni montažni postupak koji kombinuje arhivski dokumentarni materijal (found footage) i igrani film anticipirajući kasnije postmodernističke postupke. Kao posledica pomenutog obračuna, smenjeno je rukovodstvo “Neoplanta filma”.

Među žrtvama progona su se našla i najveća imena domaće kinematografije, pored Želimira Žilnika i Dušana Makavejeva koji odlaze u inostranstvo i nastavljaju karijere, Aleksandar Petrović i Živojin Pavlović gube svoje dotadašnje profesorske pozicije na fakultetu. Drukčije socijalno senzibilisane teme u odnosu na dotadašnje temate jugoslovenske kinematografije, u otklonu od popularnih istorijskih i partizanskih filmova, kritički stavovi i često eksperimentalna filmska forma koja podriva konvencije tradicionalne naracije u ovim produkcijama su u zapadnoj Evropi bili shvaćeni kao primer kreativnih sloboda u socijalističkoj Jugoslaviji i uklapali se u mit o “socijalizmu sa ljudskim licem”. Reditelj Slobodan Šijan objašnjava ovu situaciju: “… tolerisanje postojanja crnog talasa jeste na neki način bilo izvrnuto “Potemkinovo selo” koje je trebalo da zapadu prikaže liberalniju prirodu jugoslovenskog socijalizma, koji ima hrabrost da pokaže svoje nesavršenosti, ali su motivi njegovih stvaralaca bili daleko od jedinstvenog pokreta za “bolji socijalizam”, kao što ni svi učesnici studentskih demonstracija 1968. u Beogradu nisu demonstrirali za “bolji socijalizam” kako je to rukovodstvo demonstracija proklamovalo”10.Nakon postavljanja novog rukovodstva u kući “Neoplanta film” 1972. godine, na čelu sa direktorom Draškom Ređepom, produkciju ove kuće obeležila je praksa

10 Šijan, Slobodan. Crveno i crno u: DeCuir, G. Jr. (2011). Jugoslovenski crni talas. Polemički film od 1963. do 1972. u Socijalističkoj Federativnoj Republici Jugoslaviji. Beograd: Filmski centar Srbije.

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sanitarizacije naslova i sadržaja, kao i fokus na društveno podobnije filmova. Ipak, realizovan je zapažen film Karolja Vičeka Trofej iz 1979. godine, koji osvaja Zlatnu arenu na “Festivalu igranog filma” u Puli i antologijski dugometražni film Život je lep (1985) reditelja Bore Draškovića po motivima priče Aleksandra Tišme. Afera u vezi sa dugom preduzeća tokom rada na ambicioznoj koprodukciji sa Sjedinjenim Državama na spektaklu partizanskog filma Veliki transport Veljka Bulajića (1983) dovela je do sudskog procesa i “Neoplanta” je ugašena 1985. godine, a filmski negativi i kopije su dodeljeni distributerskoj kući “Zvezda film”. Danas je jedan deo filmskog materijala propao, dok je drugi deo spašen i digitalizovan i čuva se u “Jugoslovenskoj kinoteci” u Beogradu11.

Druga profesionalna produkcijska kuća “Panfilm” iz Pančeva je bila aktivna do 1991. godine. U filmografiji ove kuće pretežno su zastupljeni kratkometražni i dokumentarni filmovi, među kojima se ističe film Ustanak u Jasku Želimira Žilnika iz 1973. godine, Na ljuljašci Miloša Nikolića iz 1975. i Trudna zemlja Nikole Majdaka iz 1975. godine. “Panfilm” je producent animiranog filma autora Stevana Živkova Put iz 1978. godine inspirisanog satirom Vođa Radoja Domanovića, kojim Živkov suptilno referiše na tadašnji politički kontekst. Film Put je bio zabranjen za prikazivanje do 1990. godine. Nakon gašenje “Neoplanta filma”, osnovana je profesionalna producentska kuća “Terra film” 1987. godine koja je nasledila prostorije, arhivu i opremu od “Neoplante”.

Politička klima u Savezu komunista i opšta atmosfera u Jugoslaviji posle studentskih protesta 1968. godine uticala je na relativnu liberalizaciju u polju kulturne politike. Ovaj period je bio kratkotrajan do dominacije tvrde partijske struje koja uvodi veću kontrolu i cenzuru sadržaja. Progon protagonista filmske neoavangarde i smena rukovodstva “Neoplante” preslikavaju se i na kulturnu i omladinsku scenu Novog Sada, kada su se u periodu od 1972. do 1974. godine političke strukture obrušile na uredničke odbore kulturnog centra “Tribine mladih” i časopisa “Polja”, “Új Symposion” i “Index”, a dvojicu konceptualnih

11 Zakonski vlasnik filmskog nasleđa “Neoplanta filma” je Izvršno veće AP Vojvodine. Tokom neadekvatnih uslova za smeštaj filmskih rolni u podrumima, garažama i bunkeru, materijal je vremenom propadao.

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umetnika Slavka Bogdanovića i Miroslava Mandića osudila na zatvor godinu dana. Na njihove pozicije su postavljene partijski podobne kulturbirokrate. Posle perioda čistki od 1974. godine Tribina mladih, nekad glavno mesto prezentacije relevantne savremene umetničke produkcije, prestaje da bude bitan faktor u strukturi kulture grada. Filmska produkcija protagonista nove umetničke prakse i konceptualne umetnosti obuhvata uglavnom dokumentarne filmske zapise realizovane super 8 kamerom. Njihova funkcija je pre svega da zabeleži svakodnevni život koji je u konceptualnoj praksi izjednačavan sa umetnošću. Nakon što se pojavio 1965. godine, super 8 film smenjuje dotadašnju isključivu upotrebu skupljeg 16mm filma, koji je bio prihvaćen kao standard i na televiziji. U kolekciji Muzeja savremene umetnosti Vojvodine se čuvaju digitalne kopije filmova snimljenih super 8 kamerom čiji sadržaj uglavnom nije režiran i koji dokumentuju svakodnevne aktivnosti protagonista, njihove interakcije, impresije i ideje. Jedan od njih je kratak film novosadske gradske komune sedamdesetih godina, čije su jezgro činili novosadski konceptualni umetnici. Sličan temat ima Film o grupi Bosch+Bosch iz 1972. godine, koji potpisuje umetnik Slavko Matković, član subotičke konceptualne umetničke grupe Bosch+Bosch, dok je Matkovićev raniji film Belo Plus snimljen 1971. godine jedan od izraženih primera umetničkog filma u radikalnoj eksperimentalnoj formi.

U kontekstu izučavanja istorije filma i videa, nezaobilazan je fenomen televizije. Prve televizijske stanice u Zagrebu, Beogradu i Ljubljani su aktivirane u drugoj polovini pedesetih godina, a u ostalim centrima tokom šezdesetih i sedamdesetih godina. Sa ulaskom TV prijemnika u domove, televizija je kao nova industrija sa hiperprodukcijom sadržaja, izmestila i ujedno transformisala konzumaciju pokretnih slika. Dotadašnja neprikosnovena dominacija bioskopa tada je dobila konkurenta u novom masovnom mediju, televiziji, čiji su program istovremeno mogli da prate milioni gledalaca, svako iz svog doma. Pored bogate produkcije zabavnog i propagandnog programa, televizija je realizovala informativni i edukativni program, program iz kulture, emitovala igrane filmove i snimala televizijske filmove različitih žanrova i formata. Savet radne zajednice Radio-Novog Sada je 1971. godine doneo odluku o stvaranju samostalne radne jedinice - Televizije Novi Sad. Skupština AP Vojvodine je 1972. donela odluku o prerastanju

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radija u Radio-televiziju Novi Sad (RTNS). Prvi program iz svog studija RTNS je emitovala 1975. godine. Prve ekipe za televizijsku produkciju su činili kadrovi iz kino klubova, a kasnije su to bili kadrovi obrazovani na fakultetu, Katedri za intermedijalnu režiju (film, pozorište, televizija, radio) Akademiji umetnosti u Novom Sadu (klasa profesora Bore Draškovića). Diplomci sa novosadske Akademije su snimali svoje prve TV filmove za novosadsku televizijsku kuću. Izdvajaju se film Mišo, u režiji Jana Makana i Miklošićeve sirene Eve Balaž, oba iz 1985. godine. U produkciji TV Novi Sad su nastali i filmovi tada već afirmisanih reditelja, između ostalih, kratak film Želimira Žilnika Sedam mađarskih balada iz 1978., dokumentarna priča o Ernestu Bošnjaku Holivud na Dunavu u režiji Nikole Majdaka i drama Bacač noževa Karolja Vičeka 1984. godine s umetnicom Katalin Ladik u glavnoj ženskoj ulozi.

Politička klima u Pokrajini se značajno menja nakon “antibirokratske revolucije” ili, poznatije kao, “jogurt revolucije”, perioda koji je obeležen serijom dirigovanih mitinga i protesta tokom leta i jeseni 1988. godine koji su tadašnjem predsedniku CK SK Srbije Slobodanu Miloševiću pružili neophodan alibi da, uz kadrovske smene, ograniči autonomije srpskih pokrajina i obezbedi prevlast Srbije u saveznim organima vlasti. Ovo razdoblje je najavilo i dominaciju politike nacionalizma i “jugoslovenske ratove” tokom devedesetih godina XX veka. U skladu sa političkim trendom ograničenja autonomija, Zakon o radio-televiziji je 1991. godine objedinio tri nezavisna preduzeća RT Beograd, Novi Sad i Prištinu, u Radio-televiziju Srbije. Takođe, ukinut je SIZ za kulturu Vojvodine i time obustavljeno finansiranje kinematografije u Pokrajini devedesetih godina. Nekada jedinstvena kinematografska mreža bivše Jugoslavije, devedesetih se urušava, kao i država SFRJ. Devet centara profesionalne filmske proizvodnje u socijalističkoj Jugoslaviji se gasi i opstaju samo tri produkcijska centra: Ljubljana, Zagreb i Beograd.

Instrumentalizovani mediji, od kojih je televizija na prvom mestu, igrali su ključnu ulogu u legitimaciji ove političke tranzicije i nadolazećih ratova. Samim tim dobija na većem značaju i vrednosti činjenica da je u kratkom periodu do 1992. godine TV Novi Sad bila otvorena za projekte iz kojih su nastali

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dokumentarni TV filmovi posvećeni najznačajnijim protagonistima novosadske neoavangarde, kao što je Kazna i sloboda Aleksandra Davića 1991. godine o konceptualnom umetniku Miroslavu Mandiću. Ovi izvanredni uslovi su bila omogućeni dolaskom Želimira Žilnika na mesto glavnog urednika Kulturno-umetničkog programa TV Novi Sad i trajali su do kraja 1992. s njegovim povlačenjem. U tom kratkom periodu je snimljen impresivan umetnički film u produkciji televizije Poslednja dadaistička predstava Aleksandra Davića 1992. godine. Tokom devedesetih godina, broj televizijskih (privatnih i lokalnih) stanica u Srbiji se umnožava i njihov program se prevashodno fokusira na zabavno-populistički i propagandni program u ratnom okruženju. Već krajem devedesetih, u Srbiji je bilo oko 300 lokalnih, regionalnih i nacionalnih televizijskih stanica, a komercijalne stanice za kratko vreme su privukle milionski auditorijum.

Pojava video tehnologije globalno se vezuje za razvoj televizijskih sistema i u osnovi se razlikuje od analogne tehnologije filma (na filmskoj traci) u samom zapisu koji u slučaju videa predstavlja elektronski impuls ili signal koji prenosi TV kamera i koji je ranije bio beležen na magnetnu video traku. Prvi video rekorderi i video trake koji su se pojavili od sredine pedesetih godina XX veka su bili skupa oprema, ali se ta situacija promenila početkom sedamdesetih kad je Sony izbacio na tržište video kasetne rekordere i trake. Kasnije je korišćenjem digitalnih tehnika u videu nastao digitalni video koji je omogućio visok kvalitet i nižu cenu od analogne tehnologije, a sa invencijom DVD-a 1997. i Blu-ray diska 2006. prodaja video opreme za snimanje beleži vrtoglavi rast. Video tehnologija uopšteno ulazi u masovniju upotrebu osamdesetih godina sa širom dostupnošću video kamera i prvim kućnim video rekorderima u Jugoslaviji. Ova okolnost je podstakla osnivanje prvih video klubova u Jugoslaviji tokom osamdesetih koji se zbog toga smatraju i zlatnim dobom video piraterije. Video umetnost u Vojvodini počinje razvojem video tehnologije krajem sedamdesetih godina XX veka. Medijsko polje pokretnih slika postaje otvorenije i dostupnije za realizaciju umetničkih projekata. Umetnički eksperimenti koji su ranije beleženi super 8 kamerom, kasnije su sasvim prešli na pristupačniju i sve jeftiniju video tehnologiju. Grafike na papiru pod nazivom Projekti Predraga Šiđanina iz 1974.

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godine zato predstavljaju zanimljiv dokument umetničkog razmišljanja o tada novom video mediju.

Zalaganjem pionirke konceptualne umetnosti u Jugoslaviji, profesorke Bogdanke Poznanović, novosadska Akademija umetnosti je 1978. godine nabavila četvrtinčnu AKAI kameru za nastavu i produkcijske potrebe. Tako je Poznanović realizovala video rad performans s Katalin Ladik Poemin, koji je svojom poetikom dosta uticao kasnije na mnoge studente Akademije. Naredne godine je osnovana, prva u Jugoslaviji, katedra za proširene medije na Akademiji umetnosti u Novom Sadu koju je vodila profesorka Poznanović. Time je video umetnost bila uvedena kao sredstvo u praktičnu nastavu. O tome svedoči i televizijski intervju sa profesorkom Poznanović u režiji Tomislava Perice, a u produkciji Televizije Novi Sad iz 1984. godine. Karakteristika prvih video radova je “govor u prvom licu” (Jerko Denegri) gde je fokus usmeren ka telu i govoru umetnika. Jedan od zanimljivih primera ranih studentskih eksperimeneta iz video učionice profesorke Poznanović je rad Line Busov, Venus iz 1982. godine koji propituje žensku senzualnost i rodne identitete. Upravo se te godine klasa studenata Bogdanke Poznanović predstavila na “Bijenalu mladih” u Parizu.

I pored inicijative na Akademiji, prisutnost video umetnosti tokom sedamdesetih i osamdesetih godina u Novom Sadu i Vojvodini je skromna u odnosu na vibrantne scene video umetnosti u Ljubljani i Zagrebu. Urednici TV Novi Sad nisu bili zainteresovani za video eksperimente, pa je sa tim izostala i podrška televizijske infrastrukture koja je u Ljubljani i Zagrebu igrala važnu ulogu. U tim okolnosima, video produkcija se kanalisala više kroz muzičku pop-kulturu, a ne umetničku infrastrukturu. U tom polju su braća Vranešević sa svojom muzičkom grupom Laboratorija zvuka odigrali važnu ulogu, kao i njihova učešća na zagrebačkom “Bijenalu” i londonskom Institutu za savremenu umetnost (Institute for Contemporary Arts). Predrag Šiđanin je aktivan tokom osamdesetih godina i u periodu od 1987. do 1990. ima bogatu video produkciju i prisutan je na internacionalnoj umetničkoj sceni. U tom periodu su aktivni u video umetnosti i Milica Mrđa i Balint Sombati.

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Usled ratova na prostoru bivše Jugoslavije tokom prve polovine devedesetih, video produkcija je u krizi i stagnira, a oporavlja se sredinom devedesetih godina. Umetničkom video produkcijom se bave Zoran Naskoski, Aleksandar Davić, Grupa Baza (Vera Midić, Vladimir Barbul, Branka Miličić), Lidija Srebotnjak, Vesna Tokin, Ksenija Kovačević, Dragan Živančević – profesor na Katedri za nove likovne medije na novosadskoj Akademiji, asocijacija Apsolutno koji razvijaju svoju praksu internacionalno i imaju zapažena učešća na umetničkim manifestacijama u svetu. Njihova aktivnost je doprinela prodoru i pozicioniranju video umetnosti na savremenoj umetničkoj sceni Vojvodine. U skladu sa tim trendom osnovan je međunarodni festival “Videomedeja” 1996. godine u Novom Sadu, u početku profilisan kao međunarodni video samit autorki Istočne Evrope, koji je internacionalizovao i intezivirao diskurs o savremenom umetničkom videu u Vojvodini. Ovaj festival je, pre svega lokalnoj sceni, omogućio uvid u savremene tendencije u video umetnosti.

Samoorganizovane prakse istraživanja i rada na filmu oslanjaju se na tradiciju ustanovljenu kroz kinoamaterski pokret i kulturu kino klubova u socijalističkoj Jugoslaviji (SFRJ). Entuzijazam, kao jedan od najvećih kapitala kinoamaterskog pokreta iz socijalističkog perioda, održao se u postsocijalističkom periodu u tehnološki modernizovanom miljeu alternativnog filma. Dovoljno je pogledati bogatu arhivu “Low-Fi Video” pokreta (Beograd) da bi se shvatila veličina amplitude tog entuzijazma koja obuhvata različite sadržaje, žanrove i estetike autora. Protagnisti alternativne filmske/video scene se, ako izuzmemo privatne prostore, umrežavaju i predstavljaju na malobrojnim saborima i manifestacijama u zemlji, od kojih je “Jugoslovenski festival jeftinog filma” – JFJF prvi put održan 1998. godine u Subotici (i doživeo nekoliko izdanja) u organizaciji grupe K.LJ.U.N. jedan od značajnijih događaja. U tom periodu tada mladi autor Sabolč Tolnai (Tolnai Szabolcs) snima svoj prvi igrani film. Reč je o niskobudžetnom crno belom filmu Letnji film (Nyári mozi) iz 1999. godine, impresivno ostvarenje za koje je muziku pisao Lajko Feliks (Félix Lajkó) koji ima i glavnu mušku ulogu. Film snimljen kao road movie na mađarskom i srpskom jeziku u bačkoj ravnici o filmskoj ekipi koja luta, danas se čini se kao metafora opšte besciljnosti i skrajnutosti vojvođanske periferije krajem devedesetih.

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Alternativna i angažovana produkcija, ranije organizovana u okrilju kino klubova koji su osamdesetih godina počeli da se gase, devedesetih godina dobija novi podstrek sa uvođenjem digitalne tehnologije u montažu i obradu slike i tona. Upotreba kompjutera i digitalnih kamera, otvorila je i novo poglavlje u produkciji pokretnih slika, čime su faktički stvoreni uslovi da svako ko poseduje opremu može snimiti film i montirati ga kod svoje kuće bez medijacije profilisanih i profesionalnih studija i producentskih kuća. Video rad Dobro veče / Good Evening iz 1996. godine asocijacije Apsolutno iz Novog Sada, kao kritička intervencija u polju medijske kakofonije i televizijske manipulacije, predstavlja jedan od pionirskih primera upotrebe kompjuterske montaže u umetničkoj praksi. Montažni postupak kratkih rezova nam se prikazuju kao ubrzano smenjivanje pozdravnih reči iz vesti televizijskih stanica koje su te godine uhvaćene preko satelita u Srbiji. Ubrzanjem ovih rezova, dolazi do njihovog preklapanja u delirijum slike i zvuka.

Impuls od izuzetne važnosti alternativna filmska produkcija u Novom Sadu i Vojvodini dobija 2001. godine, kada je mlada generacija filmskih profesionalaca sa novosadske Akademije umetnosti pokrenula nezavisni filmski centar “Kino klub Novi Sad” sa idejom o produkcijskoj kući koja će se baviti autorskim i nekomercijalnim filmom. Jezgro ekipe kino kluba12 činile su dve klase režije sa novosadske Akademije pojačane mnogobrojnim prijateljima. Pored produkcija kratkih i nekoliko dugometražnih filmova, aktivnosti “Kino Kluba” su obuhvatale i filmske radionice i arhiviranje materijala nasleđenog od starog “Kino kluba Novi Sad”. “Kino klub” je organizator i zapaženog festivala malih i nezavisnih produkcija “Filmski front” koji je, sa blagom promenom koncepcije, izrastao iz “Vojvođanskog festivala filma i videa” pokrenutog 2003. godine u Novom Sadu. U Subotici je 2010. godine pokrenut (i imao nekoliko edicija) festival “Medusa Filmnapok” s fokusom na autore iz Vojvodine13.

12 Filip Markovinović, Goran Filipaš, Marin Malešević, Goran Stanković, Ivan Đurić i dr. 13 Dve godine kasnije je u Subotici pokrenut zanimljiv i zapažen festival horora i filmske fantastike “Hrizantema”, a Pančevo pokreće svoj filmski festival PAFF 2014. godine.

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Nakon političkih promena u Srbiji od 2000. godine, AP Vojvodina je opet počela da izdvaja finansijska sredstva za kinematografiju. Tokom prve decenije, snimljeni su dugometražni autorski filmovi reditelja mlađe generacije, diplomaca sa novosadske Akademije i članova “Kino kluba Novi Sad”: Sabolča Tolnaia, Marina Maleševića i Miloša Pušića. Nakon ovog pozitivnog impulse, podrška se utišala i opstajala uglavnom formalno sa malim brojem projekata. Kraj prve decenije XXI veka u Novom Sadu od 2008. do 2010. godine bio je porazno obeležen gašenjem svih bioskopa u gradu usled tranzicije iz državne/društvene svojine u privatne ruke (Arena), rekonstrukcije (bioskop Kulturnog centra Novi Sad – Tribina mladih) ili prepuštanja propadanju (Jadran). Apsurdnost ove postranzicijske epizode dodatno potvrđuje činjenica da je upravo u isto vreme u vojvođanskoj prestonici bez bioskopa pokrenut internacionalni filmski festival “Cinema City” pod parolom “Ceo grad je bioskop”. To su neki od paradoksa koje proizvodi kulturna politika. Međutim, kino kulturu su krajem prve decenije XXI veka u Novom Sadu negovale različite organizacije u alternativnim prostorima poput Crne kuće CK13 s tematskim filmskim ciklusima, ili u okviru neprofitnih i samoorganizovanih inicijativa programa filmskih večeri koje su se oglašavale putem društvenih mreža.

Digitalna tehnologija je doprinela da umetnost stvaranja filma danas postane svima dostupna. Današnji nivo demokratizacije i personalizacije tehnologije omogućava svim korisnicima da budu istovremeno i konzumenti i proizvođači vizuelne kulture. Između ostalog, digitalne kamere solidnog kvaliteta i kompjuterski programi za montažu su široko dostupni na kućnim računarima, a ubrzanje interneta omogućuje globalni auditorijum umetničkim projektima. Digitalizacija analognih medija je uzrokovala medijsku konvergenciju zbog koje danas možemo ove sadržaje gledati na različitim mobilnim uređajima i računaru. Ovi procesi su podstakli talas fasciniranosti arhivima uvodeći nas u novu eru arhivske groznice (Derrida). U tom kontekstu, interesantni su projekti umetnika koji se bave sakupljanjem analognih zapisa, njihovom digitalizacijom i kreiranjem specifičnih digitalnih repozitorijuma kao forme njihove umetničke intervencije. Primer ove prakse je predstavljen na izložbi Tehnologija narodu! kroz projekat umetnice Nataše Vujkov Memorabilia: lost&found iz 2013. godine,

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realizovan kao digitalna arhiva super 8 i 16mm traka, dia-pozitiva, fotografija, razglednica i pisama, od kojih je većina nađena na Najlon pijaci u Novom Sadu, ili u napuštenim objektima i na ulici. Signifikantnost ovakvih projekata se sastoji upravo u otkrivanju izgubljenih materijala ili otvaranju zaboravljenih arhivskih celina za kritičke reistorizacije koje nas oslobađaju od istorijskog taloga učitavanja.

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Medijska kultura nam se danas, uopšteno, otkriva kao sistem znanja i praksi omogućen inovacijama, demokratizacijom, popularizacijom i današnjom personalizacijom tehnologije, ali i sve većom brzinom kojom se različite informacije proizvode, reprodukuju, preuzimaju i dele. Tako je genealogija pokretnih slika (film, televizija, video) kao deo medijske kulture ujedno i istorija procesâ njene demokratizacije tj. dostupnosti društvu. Digitalizacija je donela novu ”renesansu” u oblasti filmske i video produkcije kad su ”narodu” dostupna sredstva za produkciju pokretnih slika više nego ikad ranije. Ova okolnost evocira staru socijalističku parolu ”Tehnika narodu!” zasnovanu na egalitarističkoj utopiji o mnoštvu koje uči o i participira u tehničkoj kulturi.

Proliferacija pokretnih slika na video-friendly internet platformama i društenim mrežama (YouTube, Vimeo, Instagram, Facebook, Twitter itd) kao posledica mogućnosti koju je nova tehnologija donela, svakako nosi promene od epistemološkog značaja. U novom ekonomskom režimu porasta produkcije filmskih i video sadržaja i njihove distribucije, i informacijskog rasta uopšte, naša pažnja dobija novo značenje i smisao, ona je u deficitu, postaje nova vrednost koja se industrijalizuje i kapitalizuje. Pomenuti procesi su značajno transformisali i institucionalne, muzeološke, uloge i prakse kolekcioniranja, izučavanja i prezentacije umetničkih dela.

Mnogobrojni stari filmski zapisi na analognom filmskom mediju su digitalizacijom i njenim hiper-reproduktivnim svojstvima danas dostupni na mreži i na različitim digitalnim uređajima, pa se i njihovo izučavanje čini jednostavnijim. Zbog toga se vrednosni generator u vidu kritičke analize i teorije

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ukazuje neophodnim da bi se obilje sadržaja selektovalo i (re)valorizovalo. U specifičnim i međusobno različitim društveno-političkim kontekstima, od prvih entuzijasta – pionira filma s početka XX veka do danas, trend tehnoloških inovacija i celokupni modalitet proizvodnje određene epohe pomerali su pokretne slike od krajnje elitističkog do masovnog/popularnog okvira. Međutim, da bismo izbegli zamku linearnog teleološkog objašnjenja pokretnih slika kroz tehnologiju, izučavanje istorijskog konteksta je ključno. Dominantne ideologije, političke odlike, životni stilovi i vizije su uticali na prakse u mediju filma i videa, kao i na njihove kontinuitete ili diskontinuitete.

Eksperimenti u filmu i videu koji su istraživali granice samog medija i pomerali njegove dotadašnje konvencije, uvodili nove filmske jezike i teme, filmske i video prakse usmerene ka društvenoj kritici ili samokritici, uglavnom su nastajali u okviru alternativnih umetničkih sistema produkcije i samoorganizovanih inicijativa. Kinoamaterizam i nekomercijalni film zasnovani, pre svega, na entuzijazmu i pasiji su tako doprineli društvenoj emancipaciji u vezi s otkrivanjem moći i sloboda koje nude pokretne slike. Zbog toga je izučavanje i otkrivanje manje vidljivih alternativnih filmskih produkcija ujedno i pokušaj da se avangarda upiše u master narative istorije umetnosti. Avangardne ideje su se probijale i kroz glavni tok profesionalnog kinematografskog sistema, pa je za izučavanje filmske i video produkcije kroz istoriju bitno da se zaobiđu tradicionalne distinkcija koje partikularno valorizuju amaterizam i profesionalizam. Ovaj pristup doprinosi da se sagleda cela amplituda najvažnije umetnosti.

Projekat Tehnologija narodu! Film i video u Vojvodini je samo jedna studija slučaja i model (re)istorizacije u okviru kustoske prakse usmerene ka skiciranju neke buduće kolekcije ili stalne izložbene postavke, koja bi predstavila filmske i video produkcije u muzeju čiji je fokus ka umetnosti jednog kulturnog regiona.

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The project Technology to the People! Film and Video in Vojvodina (2013) was conceived as research whose results were presented through a programme comprising an exhibition, film projection, a series of lectures, presentations and talks with film and video authors. This programme, through various forms of presentations, attempted to provide the visitors with an insight into the specific conditions and contexts of production and thinking within the medium of film, video and television – unified through the notion of moving pictures. The project dealt with analysing the general and specific regimes of moving pictures within the network of technological development, social ideas and political powers, but at the same time it attempted to initiate a broader discussion on the effects of digitalisation on the (extra-)institutional practices of (re)constructing (art) history. The material used for the purposes of the project included many paradigmatic examples of film and video productions (over a hundred of them), diverse photographic documentation and periodicals, as well as technical equipment for recording, editing and projections, from various historical contexts of the region of Vojvodina during the 20th and the 21st centuries.

The basic idea of the project Technology to the People! Film and Video in Vojvodina (2013) is to present, from the perspective of curatorial practice and research, the contexts, the diversity of practices and productions, the important areas and manifestations of gathering and exchanging knowledge of moving pictures (first of all, film and video) in the region of Vojvodina from the advent

Gordana Nikolić

TECHNOLOGY TO THE PEOPLE! FILM AND VIDEO PRACTICES IN VOJVODINA

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of film towards the end of the 19th century to the end of the first decade of the 21th century. The history of film was viewed as part of a broader corpus of the development of the media culture. What was singled out as the main quality when it came to evaluation was inventiveness in the domain of film language and technology, as well as the experimental approach to working with film and video, which shifted or broke down the former conventions of the very medium of moving pictures. As the main process with social implications, we map the so-called democratisation of moving pictures, which was in the ascendant in the period following the Second World War. The programme of expanding the film culture among the people by establishing a network of film clubs and cinemas in socialist Yugoslavia was made possible, in addition to technology, by the cultural policy of the socialist political system in Yugoslavia. The culture of film clubs on the map of the history of film and video represented a veritable hotbed of practices and ideas for cinematography later on in various organisational, financial and ideational circumstances (professional, amateur, self-organised, low-budget, no-budget production and the like).

The project was initiated and thought through in conceptual terms by Gordana Nikolić (Senior Curator at the Museum of Contemporary Art of Vojvodina) and Aleksandar Davić (director and Professor of film and theatrical direction at the Academy of the Arts in Novi Sad and Professor of Digital Video at the University of the Arts in Belgrade) in 2011. The project and the exhibition Technology to the People! Film and Video in Vojvodina were realised between 19th February and 14th April 2013 at the Museum of Contemporary Art of Vojvodina in Novi Sad.

The Contexts and the Methodology of the Project

From the end of the 19th century to the present day, the territory of Vojvodina has been a part of different states, and stands out as a characteristic melting pot of various cultural influences through the changes of political systems, the domination of particular ideologies, organisation of work and social/class

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relations, within the framework of which we analyse moving pictures: Vojvodina within the framework of the Austro-Hungarian Monarchy; the context of the Kingdom of Yugoslavia (the Kingdom of Serbs, Croats and Slovenes between 1918 and 1929); socialist Yugoslavia after 1945 and the period of socialist self-management; the transitional and post-socialist period of states that are former Yugoslav republics from the early 1990’s.

Even though we sketch film practices from the advent of film in the area of Vojvodina to the present day, the focus is on the period after the Second World War in the former Yugoslavia, when the art of film gained in importance. In socialist Yugoslavia (the Federal People’s Republic of Yugoslavia/Socialist Federal Republic of Yugoslavia), cinematography was nationalised and directed towards intensive work on developing the infrastructure of the film industry within the framework of the republics – members of the federation. During the 1950’s and later, the official policies favoured the film expression, which entailed the differentiation into professionalism and so-called amateurism in film. In these processes, so-called amateurism was marginalised to the sphere of film clubs, and thus a space for action and art experiments in the domain of film was relatively liberalised. The network of film clubs in each large city of the then state of Yugoslavia had a didactic and emancipatory purpose, which can succinctly be summed up by means of the socialist slogan Technology to the people, based on the egalitarian utopia of bringing technological culture closer to the working people.

By the end of the 1960’s, the Yugoslav film industry achieved a quantitative upsurge and a significant international visibility through its production of feature films, along with a liberalisation of film content and expression. Liberalisation presupposed a request of films authors for experimentation in the domain of film form and language, as well as sensitivity to contemporary social topics and agile social criticism.

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The application of the model of socialist self-management in the sphere of culture may also be analysed in the organisation of associated labour of certain film companies and the modernisation of production conditions, which are connected with, among other things, a relative opening of the then cultural policies to the market model of business operations (for example, “Neoplanta film” in Novi Sad). These arrangements gave rise to some classic films, then stigmatised by the label of the so-called Black Wave, positioned on the contradiction between their international success and the stance of the regime, which banned public projections of these movies without officially doing so (for example, the film Early Works by Ž. Žilnik or WR: Mysteries of the Organism by D. Makavejev).

Also, the autonomous and marginal spaces of production of knowledge and work on film and video, discovered in the niches of the official system, such as independent, low-budget or no-budget productions, neo-avant-garde experiments or contemporary do-it-yourself practices, often directed further processes in the sphere of innovations. It is precisely that situation that made it possible for us to relativise the traditional distinctions between professionalism and amateurism, and to try to locate the places, actors, productions and events that contributed to a new pondering of technology and media, and to their social role within the framework of the specific geopolitical context of Vojvodina.

The methodology of the project was determined by the general genealogy of the technology and history of the media, which gives the project a historical character to a considerable degree. The chronology presented, which is connected to film and video production, was used selectively from the available historiographical sources, and was supplemented from oral sources – through interviews conducted with film authors, cultural workers, theorists and researchers.

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Film, Video and TV Practices in Vojvodina

The first film-related event in Vojvodina, based on the available data, can be traced back to 1896, when the first film performance1 was held on 7th November (or 26th and 27th October according to the old calendar) in Novi Sad. Early next year, the film The Arrival of a Train in Novi Sad Railway Station was shown in Belgrade; according to the available historical sources, this is considered to be the earliest known films document recorded in the region of Vojvodina. Towards the end of the 19th and in the early 20th century, owners of moving cinemas – moving projectors of moving pictures – traversed the area of the former Austro-Hungarian Monarchy, bringing the first cinema experiences to the local population even in out-of-the-way settlements on the rim of the province. The owners of travelling cinemas were among the first creators of film recordings, such as Ernest Bošnjak and Aleksandar Lifka – pioneers of film, enthusiasts and visionaries who had their own cinemas and companies for showing and distributing films.

These travelling cinema projections anticipated the future cinema network, which, from the establishment of the first permanent cinema in Sombor in 1906, until the end of the First World War, comprised over thirty permanent cinemas in Vojvodina,2 which testifies to the speed with which the cinema audience and the market increased, as opposed to the other parts of today’s territory of Serbia. Aleksandar Lifka, after one decade of a career with his travelling “Electro-cinema Lifka”, settled down in Subotica, where he opened a permanent cinema called

1 Kosanović concludes that it was a combined performance, featuring, apart from slides, some film footage. Kosanović, Dejan. (1985). Počeci kinematografije na tlu Jugoslavije 1896–1918. Beograd: Institut za film, Univerzitet umetnosti. pp. 193-194.2 The first real cinema, the “Apolo”, was opened in Novi Sad in 1910. Ten cinemas were opened during the First World War alone. Before the beginning of the war, the “Korzo” cinema, at no. 4, Zmaj Jovina Street,started working as well. After the end of the First World War, the opening of new cinemas continued, so that in the yard of the “Sloboda” hotel (today’s Bank of Vojvodina in Trg slobode [Freedom Square]) the “Odeon” cinema was opened, and after it the “Luksor”, which quickly changed its name to the “Royal”, in Jovana Subotića Street. Within the framework of the Tanurdžić Palace, the “Reks” cinema was opened, then the “Palas” in 1940 (today’s “Jadran“), and in the German Kulturbund, at the corner of today’s Vase Stajića Street and Gallery Square, the “Uranija” cinema. http://www.blic.rs/vesti/vojvodina/bioskopi-pretvarani-u-magacine-i-trzne-centre/vw8yqdb

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“Lifka mozi” in 1911 and started making documentary films on local topics. Printed media advertised and announced the times of cinema projections, and writing about film soon assumed the form of film criticism.3

The early or pioneering period of film (1986–1918), when film equipment was more than a luxury, reflects the conditioning and dependence of the first activities in the sphere of this medium by the then social elite. The bourgeoisie of that time, fascinated by the new medium, relying on the available resources and social privileges, contributed to collecting donations for the work of the first film club. Among other things, the pioneers of film-making originated from well-to-do families of entrepreneurs and merchants, so that the requisite technology, and thereby the realisation of films, were more accessible to them. The realisation of the first local (film) production in Vojvodina was made possible through the establishment of the “Novi Sad (Újvidéki) Photo Club” in 1901, which, apart from its basic photographic activities, also dealt with film. Thus, as early as 1902, the first local film production was made about Lake Palić, which, among other things, was intended to promote tourism in the region. Ernest Bošnjak from Sombor obtained a film camera in 1909 and began filming one of the famous projects based on mythology, In the State of Tepsihora, which has remained lost to the present day.

Nitrate films, for the most part due to the high flammability of the nitrate film tape, and also due to wartime ravages and the passage of time, have not been preserved in any great number, so that we find out about the pioneers of film-making and their works mostly from newspaper articles or other written sources, which were few and far between, so that we can only speculate about the films made by the pioneering figure of Vladimir Totović from Novi Sad only on the basis of the very few written documents available (newspaper articles and private correspondence with his brother), for none of his films have been preserved. When he was seventeen years old, Totović directed two feature films (which he signed

3 The article “On the Cinema”, written by the journalist Žarko Ognjanović, was published in Novi Sad’s Branik in October 1910, announcing the beginning of film criticism.

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as both producer and actor), Saviour (1917) and Thief as Detective (1916), and he also acted in Budapest and Vienna.4 Having been conscripted, he was killed on the Soča front in 1917, which tragically cut short his film career, then in full swing. On the other hand, The Unveiling of the Monument to Ferenc Rákóczi by Ernest Bošnjak, dating from 1912, is one of the rare early film testimonies to have been preserved, and it represents, apart from being a work realised in the then new medium, a valuable historical document about recording local events.

In the Kingdom of Serbs, Croats and Slovenes (Yugoslavia), the state considered film production to be a commercial activity, and on account of this did not provide financial support to it. The unfavourable position of cinematography is also indicated by the fact that the domestic market was not protected from the domination of American and German films in the repertoire of local cinemas.5 His ambitions thwarted by the war, Ernest Bošnjak realised his dream about a factory for the production of film after the war by establishing the “Boer film” production house in Sombor in 1923 and cooperating with an international team which included Bela Fabian (born in Budapest) and the German Wilhelm Rendelstein. “Boer film” produced the film Trial Shots of the First Yugoslav Film Factory (1924), the only one to have been preserved in its entirety, and until 1926, when “Boer film” ceased operations, produced three more feature films and one animated commercial.Trial Shots of the First Yugoslav Film Factory,

4 In films made by the important Viennese producer, Aleksandar Saša Kolovarat. 5 A. Davić, in his text Film in Vojvodina, informs us that the Law on Regulating the Distribution of Films, dating from 1931, contained a provision stipulating the obligation of cinemas to have at least 15% of their repertoire made up of domestic films, but that provision was abolished in 1933. Within the global context, in Europe, America and Japan, from its pioneering days to the First World War, film soon grew into a powerful, profitable industry with a broad scope of film-related activities. That level of production was never reached in Vojvodina while it was a part of the Austro-Hungarian Monarchy, and it would not happen in the period when Vojvodina became a part of the Kingdom of Serbs, Croats and Slovenes (Yugoslavia), starting from 1918. The war brought the film industry to a halt in Europe, while in America it grew without any hindrance, films became longer and the language of film more complex. Analytical narration in film became a convention of narrative film and inaugurated the, until then purely technical, editing procedure into a part of the artistic process of key importance to film overall. American film studios moved to sunny California, and soon afterwards, through their integration into larger companies, Hollywood film studios were created during the 1920’s, and their expansion to foreign markets ensued a short while after that. In Europe, only the German UFA, supported by the state, industry and banks, proved to be a rival to them.

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precisely because of its basic aim, which was to record the casting of actors, was characterised by a more relaxed approach compared to pre-directed film narratives, and it left the impression of an experimental art project.

Of importance and interest is the information about the use of film technology for military purposes in the period between the two world wars. What this is about is the use of film camera (photo machine gun) for the purpose of making shots from the air as a teaching aid, which was part of the standard pilot training (for pilots engaged in aerial reconnaissance), in the first Air Force Pilot School, established in the early 1920’s in Novi Sad.6 During the same period, the mountaineering association “Mt Fruška”, in addition to its basic reconnaissance activities and an active role in the dissemination of communist ideas and preparations for the defence of the country before the Second World War, became a centre for the gathering of film aficionados when a film section was established within its framework. Section members Dr Žarko Kapamadžija and Karl Šafer made the film Skiing on Mt Fruška (16mm) in 1934; for the time being, it is considered to be the oldest film document produced locally that was filmed in colour (a part of the film).7 Sections of this kind were only a hint of the collectivity of the mass movement of film amateurism and the network of film clubs that would spread through socialist Yugoslavia from the early 1950’s onward. Film amateurism refers to film-making without any commercial ambitions.

One of the amateur film-makers in the period between the great wars was Rodoljub Malenčić, head of the Traffic Department of the Novi Sad police, the author of a short pro-Hollywood silent action film Happy End, dating from 1929 (16mm). Among the films from the period between the great wars that have been preserved are the picturesque and entertaining documentary recordings of various

6 This circumstance influenced the appearance of local providers of film tapes for photo machine guns to the army, for example, the shop “Barta i drug [Barta and Friend]” in Dunavska Street in Novi Sad. Source: oral interview conducted with Mika Putnik.7 The Director of the Archive of the Cultural Centre of Pančevo Staniša Radišić, during the process of digitalisation of the film material of the Film Club Pančevo and Panfilm, accidentally found reels of the film Skiing on Mt Fruška in a box.

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activities and events from the Vojvodinian periphery, of which the most exciting one is probably A Carnival in Bela Crkva, produced by Jadran film in 1930. The filmed carnival leaves the impression of a surreal parade, with its long village column of variously costumed people and sumptuously decorated objects such as a coach tugging a giant boat in the shape of a swan. The newsreel A Beauty Contest on Lake Palić, dating from 1930, signed by Novaković film, which was shown during the exhibition, belongs to the same register of documentary films. When it comes to films from the wartime period, of great historical importance are the documentary recordings of wartime events made by Lazar Velicki, such as the film The April War of 1941 in Petrovaradin.

After the Second World War, in socialist Yugoslavia, parallel with support to professional cinematography, the state established a network of film clubs within the framework of the organisation the People’s Technology of Yugoslavia, which featured the broadest segments of the population interested in technological culture among its membership. Almost every local community had its own film club, and this circumstance conditioned the most diverse productions of varying levels of quality and explorations of the very boundaries of film. At first, cinematographic activities unfolded within the framework the Commission “Technology and Sports”, established in 1946 as part of the “Physical Training Association” of Yugoslavia, following which, in 1948, the independent organisation the “People’s Technology” was formed, which encompassed the first young technicians’ clubs in schools (children’s and youth film clubs). It is precisely from this context, one decade later, that two interesting photographs (presented at the exhibition) originate, which show pupils who attended the primary school “Đorđe Natošević” from Novi Sad working in the film section Experiment. This historical circumstance testifies to the cinematographic revolution initiated by the new communist authorities, and to their entirely different attitude towards film, compared to the pre-war authorities. Apart from the propaganda capacity of film, recognised and widely used by the communist authorities, the then authorities were the first ones to consider film an art form, if not the most

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important art form.8 The first problem with which film clubs were faced was the technological equipment for making films, so that the first film cameras entered film clubs owing to wealthier citizens who donated “trophy” technology specimens inherited from the German army after the end of the Second World War. The presiding officers of the first film and photo clubs were mainly from the military structures, for they were in a position of being able to procure the means of work. In Novi Sad, in 1951, a film club was established that, during the first year of its existence, was named after the American editor, director, theorist and professor, born in Srem, who made a career in Hollywood – Slavko Vorkapić. The first film recordings made in film clubs were mostly newsreels. Later on, increasingly exciting experiments and authorial approaches in the film medium became characteristic of film club productions, which are non-commercial when it comes to their essential orientation. Among the early members of the “Film Club Novi Sad”, Borivoj Mirosavljević, Petar Latinović, Slobodan Miletić, Srđan Ilić and others stood out.

Borivoje Mirosavljević’s films from the 1950’s such as From the Picture Book of a Traffic Policeman, made in 1956, Following the Trail of a Bloody Secret and A Sleepy Gaucho, dating from 1957, represent an important testimony of amateur film production that contained all the elements of feature films of the action variety, often influenced by American western films. Amateur film-making developed in the niches of our cinematographic system, wherein the attention of the state was focused on professional cinematography and its propaganda potential. It is precisely this situation that made possible the artistic freedom of film-makers in their work and exploration of the film medium in film clubs, and festivals of amateur film made possible the affirmation of authors and their interlinking through the clubs. “The First Festival of the Amateur Film of Vojvodina” was held in 1954, and in 1965, “The Interclub and Authorial Festival

8 The Russian Revolution proclaimed film to be the most important art form. In the spirit of the old utilitarian concept, film was understood as one of the main instruments of education, enlightenment and propaganda. See: Lim, M. and Antonjin Lim (2006). Najvažnija umetnost. Istočnoevropski film u dvadesetom veku [The Most Important Art. Eastern European Film in the 20th Century]. Belgrade: Clio.

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of Amateur Film”, known under the acronym MAFAF, was held in Pula and raised the visibility of the amateur film scene to the level of the entire state. Some authors from Vojvodina earned their affirmation precisely though such events, among them Ivan Rakidžić from Pančevo and Artur Hofman from Sombor. Ivan Rakidžić’s film Spring Came to My Brother Charlie’s Flat, dating from 1966, which received an award in Pula, was one of the prominent examples of experimental art film in the amateur film production of that time.

Even though the most active film clubs in Vojvodina were those from Novi Sad, Pančevo and Sombor, other film clubs realised diverse film productions as well and had their own star enthusiasts. Milivoj Unuković, from the village of Omoljica, near Kovin, has a filmography comprising over a hundred titles, and his work is connected with the “Film Club Omoljica” and the amateur film festival dedicated to rural life entitled “Žisel”, established in 1971, the year which saw the launching of one of the greatest film festivals, Belgrade’s FEST.

Yugoslavia’s break-up with the Informbureau in 1948 and its distancing from the Eastern Block opened the door for the influx, as well as influence, of American and Western European contents on popular culture and high art. The neutrality of the political position of socialist Yugoslavia in the Cold War ambience was also reflected on the country’s openness to the cinematographies of both blocks.9 Apart from film clubs, cinemas thus played an important role in the education of a new generation of film-makers, who would go on to have careers in professional film companies.

The “Film Club Novi Sad” produced, among other things, films for special purposes, such as the documentary film about the floods in Novi Sad of 1966. This year also represented a turning point in the professionalisation of film production. With the approval of the political structures of Vojvodina, the first professional

9 Cinema repertoires, compared with the presence of Hollywood productions and Kurosawa’s films, presented West European and East European films to a rather greater extent – they comprised Italian, French, Soviet, Czech, Polish, and sometimes even Latin American or Indian productions.

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production house, “Neoplanta film”, was established in 1966 in Novi Sad. Five years later, the second professional film house, “Panfilm”, was established in Pančevo. The first professional team of film-makers in these production houses was made up of film club members. In the case of the “Neoplanta film” company, those were Branko Milošević, Petar Latinović, Slobodan Miletić, Srđan Ilić, Prvoslav Marić and Slavuj Hadžić, headed by the general manager Svetislav Udovički. This film company produced diverse film creations in genre terms, ranging from short authorial films, through documentaries and cartoons, to complex feature films. The brief five-year period from the establishment of “Neoplanta” in 1966 to 1971 is considered to have been the golden years of this production house, precisely on account of the great number of films produced, diversity, experimentation and the innovativeness of film languages. Some of them today represent classic creations of Yugoslav cinematography, which have received numerous international accolades. One of the most prominent authors from Vojvodina, and certainly one of the most important Yugoslav directors, Želimir Žilnik, started dealing with film as an amateur in the “Film Club Novi Sad”, and soon afterwards started working within the framework of professional cinematography at the “Neoplanta film” production house. His first films realised at “Neoplanta” are short documentaries, among which the following stand out: an episode from the life of a rural community depicted in A Newsreel on Village Youth in Winter, made in 1967, and portraits of people without work at a time of implementing an economic reform called Unemployed People, dating from 1968, which won the first prize at “The International Festival of Short Films in Oberhausen”, Germany (Internationale Kurzfilmtage Oberhausen). Even today, the festival in Oberhausen is still one of the most relevant international festival platforms for short films. A large number of Yugoslav authors have achieved international affirmation at this particular festival. The first author of a short film to be awarded a prize in Oberhausen was Prvoslav Marić, for a documentary about seasonal workers entitled Seasonal Workers1970, and the illustrator and animator Borislav Šajtinac turned cartoons into a subtle satirical art satire, as exemplified by his exceptional creation from 1968 entitled Not Everything That Flies Is a Bird.

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The “Neoplanta film” company produced films by important Yugoslav authors, of which the following stand out: the experimental film The Gratinated Brain of Pupilija Ferkeverk, made in 1970, by Karpo Aćimović Godina from Slovenia, and the picturesque masterpiece Healthy People for Fun, dating from 1971, by the same author, dealing with the multi-ethnic character of Vojvodina, a short documentary film for which music was composed by Peđa Vranešević. The conceptual art group OHO from Slovenia participated in the experimental film performance White People, signed by Naško Križnar.

Feature films were a part of the filmography of the “Neoplanta film” company ever since it was established. Miroslav Antić, as a scriptwriter and director, and Petar Latinović, director of photography, made politically risqué films Holy Sand (1968) and Breakfast with the Devil (1971). Želimir Žilnik made his debut feature film Early Works in 1969, which was a classic of Yugoslav cinematography, and which won the prestigious Golden Bear award at “The Berlin International Film Festival”. However, after he returned home, the local press demonised Žilnik, following which court proceedings were initiated against him. Žilnik’s directorial sensibility and interest in contemporary social topics and the lives of people from the margins of society, his Marxist inclinations in engaged social criticism (self-criticism), belong to the register of various topics and film languages present in the films of Yugoslav directors of the so-called Black Wave. The first five years of the existence of the “Neoplanta film” production house represent an important period for studying the Black Wave phenomenon. The atmosphere of lynching film authors would turn into a veritable crackdown of the authorities of that time on the Black Wave, culminating after the release of Dušan Makavejev’s film WR: Mysteries of the Organism, produced by “Neoplanta film” in 1971. The film was banned in our country, but on account of coproduction-related cooperation with a German film company, it was distributed abroad, was successful and already gained a cult status back then. Apart from what would even today constitute a provocative topic, referring to the Austrian psychoanalyst and sexologist Wilhelm Reich and his orgon therapy, the film’s narration relies on a radical editing method that combines archival documentary material ( found footage) and a feature film,

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anticipating subsequent postmodernist approaches. As a result of the crackdown referred to above, the management of “Neoplanta film” was sacked.

Among the victims of persecution were some of the greatest names of our cinematography; in addition to Želimir Žilnik and Dušan Makavejev, who went abroad and continued their careers there, Aleksandar Petrović and Živojin Pavlović lost their professorships. Themes that were sensitised differently from those present in Yugoslav cinematography thus far, a shift away from the popular historical films and those dealing with the partisans’ struggle in World War Two, critical views and an often experimental form of film undermining traditional narrative conventions that characterised those productions, were understood in Western Europe as examples of creative freedoms in socialist Yugoslavia, and they fit in with the myth of “socialism with a human face”. The director Slobodan Šijan explains this situation thus: “… toleration of the existence of the Black Wave, in a way, was an inverted ‘Potemkin village’ of sorts, which was supposed to show to the West the liberal nature of Yugoslav socialism, brave enough to show its imperfections, but the motives of its authors were far from a unified movement for ‘a better socialism’, just as the participants of the 1968 student demonstrations in Belgrade did not all demand ‘a better socialism’, as their leadership proclaimed”.10

After the new management took over at the “Neoplanta film” production house in 1972, headed by the general manager Draško Ređep, the production of this company was characterised by the practice of sanitising the titles and content of its films, as well as focusing on socially acceptable films. Still, among the films that got realised were Karolj Viček’s well-received Trophy (1979), which won the Golden Arena at the Feature Film Festival in Pula, and the classic film Life Is Beautiful (1985), directed by Boro Drašković, based on a story by Aleksandar Tišma. The affair concerning the debt of the company incurred in the course of working on an ambitious coproduction with American partners, a spectacular partisan film entitled The Great Transport, directed by Veljko Bulajić (1983),

10 Šijan, Slobodan. The Red and the Black in: DeCuir, G. Jr. (2011). Yugoslav Black Wave. Polemical Film from 1963 to 1972 in the Socialist Federal Republic of Yugoslavia. Belgrade: Filmski centar Srbije.

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led to court proceedings, as a result of which “Neoplanta” was terminated in 1985; the negatives and copies of the film were handed over to the “Zvezda film” distribution company. Today, a part of the filmed material has perished, while some of it has been preserved and digitalised, and is kept by “Jugoslovenska kinoteka [The Yugoslav Film Museum]” in Belgrade.11

The other professional production house, “Panfilm” from Pančevo, was active until 1991. The filmography of this company mostly comprises short films and documentaries; the following stand out among them: Želimir Žilnik’s The Jasak Uprising (1973), Miloš Nikolić’s On a Swing (1975) and Nikola Majdak’s Pregnant Land (1975). “Panfilm” produced Stevan Živkov’s animated film Road, dating from 1978, inspired by Radoje Domanović’s satirical work The Leader, through which Živkov subtly refers to the political context of that time. The film Road was banned until 1990. Following the termination of “Neoplanta film”, the professional production house “Terra film” was founded in 1987, and it inherited the premises, archive and equipment of “Neoplanta”.

The political climate within the League of Communists and the general atmosphere in Yugoslavia after the student protests of 1968 led to a relative liberalisation in the sphere of cultural policy. This short period came to an end with the establishment of the domination of the hard-line segment of the Party, which introduced a greater degree of control and censorship. The prosecution of the protagonists of the film neo-avant-garde and the sacking of the management of “Neoplanta” were replicated on the cultural and youth scene of Novi Sad; in the period from 1972 to 1974, the political structures came down hard on the editorial boards of the cultural centre “The Youth Panel” and the periodicals “Polja”, “Új Symposion” and “Index”, while two conceptual artists, Slavko Bogdanović and Miroslav Mandić, were sentenced to a year’s imprisonment. Their positions were taken over by cultural bureaucrats who were acceptable to the Party. After

11 The legal owner of the film inheritance of “Neoplanta film” is the Executive Council of the Autonomous Province of Vojvodina. Due to the inadequate conditions for storing film reels in cellars, garages and a bunker, the material deteriorated over time.

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a period of purges, from 1974 onward the Youth Panel, once the main spot for presenting relevant contemporary art productions, stopped being an important factor in the structure of the city’s culture. The film production of the protagonists of the new artistic practice and conceptual art encompasses for the most part documentary film recordings realised with a super 8 camera. Their function, first of all, was to record everyday life, which was equated with art in conceptual practice. After it appeared in 1965, super 8 film replaced the until then solely used, more expensive, 16mm variant, which was the accepted standard on television as well. The collection of the Museum of Contemporary Art of Vojvodina contains digital copies of films recorded with a super 8 camera, whose content is mostly not directed at all and which document the everyday activities of the protagonists, their interactions, impressions and ideas. One of them is a short film of the Novi Sad city commune of the 1970’s, whose core was made up of Novi Sad conceptual artists. Thematically similar is A Film about the Bosch+Bosch Group, made in 1972, signed by the artist Slavko Matković, a member of the Subotica conceptual art group Bosch+Bosch, whereas Matković’s earlier film White Plus, dating from 1971, is one of the pronounced examples of an art film made in a radically experimental form.

Within the context of studying the history of film and video, the phenomenon of television must be taken into consideration. The first TV stations in Zagreb, Belgrade and Ljubljana started broadcasting in the second half of the 1950’s, and those in the remaining republican centres during the 1960’s and the 1970’s. When TV sets became a part of every home, television, as a new industry characterised by a hyperproduction of material, dislocated and at the same time transformed the consumption of moving pictures. The until then unquestioned domination of the cinema was then faced with competition in the form of a new mass medium, television, whose programme could simultaneously be followed by millions of viewers, each one watching from his/her home. In addition to the abundant production of entertainment and propaganda programmes, television also realised news and educational programmes, cultural programmes, broadcast feature films and made TV films of various genres and formats. Radio Novi Sad Working

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Community Council issued the decision on creating an independent working unit - Novi Sad Television in 1971. In 1972, Autonomous Province of Vojvodina Assembly issued the decision on transformation of Radio Novi Sad into Radio-Television Novi Sad. It broadcast the first programme from its own studio in 1975. The first television production teams were made up of film club members, and later on they featured staff educated at the university, the Department of Intermedia Direction (Film, Theatre, Television, Radio) at the Academy of the Arts in Novi Sad (the class of Professor Boro Drašković). Graduates of the Novi Sad Academy made their first TV films for the Novi Sad television station. Among the films to be singled out are Mišo, directed by Jan Makan, and Miklošić’s Sirens, directed by Eva Balaž, both dating from 1985. Under the production auspices of TV Novi Sad, films were made by already acclaimed directors; among others, there was Želimir Žilnik’s short film Seven Hungarian Ballads (1978), a documentary story about Ernest Bošnjak entitled Hollywood on the Danube, directed by Nikola Majdak, and the TV drama Knife Thrower, directed by Karolj Viček (1984), with the artist Katalin Ladik in the lead female role.The political climate in the Autonomous Province changed considerably after the “antibureaucratic revolution”, better known as the “yoghurt revolution”, a period marked by a series of guided rallies and protests during the summer and autumn of 1988, which provided the then Chairman of the Central Committee of the League of Communists of Serbia Slobodan Milošević with the necessary alibi for limiting the autonomy of the Serbian Autonomous Provinces, which was accompanied by sacking many members of their political leadership, thus securing the domination of Serbia in the federal organs of power. This period announced the domination of the policy of nationalism and “the Yugoslav wars” of the 1990’s. In keeping with the political trend of limiting the autonomy of the Provinces, the Law on Radio-Television of 1991 joined three independent TV companies, the radio-televisions of Belgrade, Novi Sad and Priština, into the Radio-Television of Serbia. Also, the Self-managing Interest Community for Culture of Vojvodina was abolished, thus suspending the financing of cinematography in the Province in the 1990’s. The once unified cinematographic network of the former Yugoslavia collapsed in the 1990’s, as did the state, the

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Socialist Federal Republic of Yugoslavia. Nine centres of professional film production in socialist Yugoslavia were terminated, and only three production centres remained: Ljubljana, Zagreb and Belgrade.

Instrumentalised media, television first and foremost, played the key role in legitimising this political transition and the coming wars. Therefore, the fact that, during the short period lasting until 1992, TV Novi Sad was open to projects resulting in documentary TV films dedicated to the most important protagonists of the Novi Sad neo-avant-garde, such as Aleksandar Davić’s Punishment and Freedom (1991), on the conceptual artist Miroslav Mandić, only gains in significance and value. These extraordinarily favourable conditions were the result of Želimir Žilnik’s taking over as the Editor-in-Chief of the Cultural-Artistic Programme of TV Novi Sad, and this state of affairs lasted until the end of 1992, when he resigned from that post. During that brief period, the impressive art film The Last Dadaist Performance, directed by Aleksandar Davić, was made as a television production in 1992. During the 1990’s, the number of TV stations in Serbia (private as well as local ones) increased, and their programme primarily focused on entertainment-populist and propaganda-centred productions in wartime surroundings. Towards the end of the 1990’s, there were already around 300 local, regional and national TV stations in Serbia, and over a short period of time, commercial stations managed to attract millions of viewers.

The appearance of the video technology, in global terms, is connected with the development of television systems, which are essentially different from the analogue technology of film (on film tape) when it comes to the actual recording, which, in the case of video, represents an electronic impulse or signal transmitted by a TV camera, and which used to be recorded onto a magnetic video tape. The first video recorders and video tapes, which appeared starting from the mid-1950’s, were expensive, but the situation changed in the early 1970’s, when Sony brought video cassette recorders and tapes onto the market. Later, through the use of digital technology in video, digital video was created, which made possible a high quality and lower prices compared to the analogue technology, and with the

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invention of DVD in 1997 and Blu-ray disc in 2006, the sales of video recording equipment soared. Video technology, generally speaking, started being used on a mass scale in the 1980’s, when video cameras became more broadly accessible and the first home video recorders appeared in Yugoslavia. This provided the impetus for establishing the first video clubs in Yugoslavia during the 1980’s, and that is why that decade is considered to have been the golden age of video piracy. Video art in Vojvodina began with the development of the video technology towards the end of the 1970’s. The media sphere of moving pictures became more open and accessible for the realisation of art projects. Art experiments which used to be recorded with a super 8 camera later entirely switched to using the more accessible and increasingly cheaper video technology. Graphic art works on paper entitled Projects by Predrag Šiđanin, dating from 1974, therefore represent an interesting document of artistic thought about the then new video medium.

Owing to the efforts of the pioneer of conceptual art in Yugoslavia, Professor Bogdanka Poznanović, the Novi Sad Academy of the Arts obtained, in 1978, a quarter-inch AKAI camera for teaching and production purposes. Thus Poznanović realised a video performance featuring Katalin Ladik entitled Poemin, whose poetics subsequently exerted a considerable influence on many students at the Academy. The following year, the First Department of Expanded Media in Yugoslavia was established at the Academy of the Arts in Novi Sad, headed by Professor Poznanović. Thus video art was introduced as a means of practical teaching. This is testified to by a TV interview with Professor Poznanović, directed by Tomislav Perica and produced by TV Novi Sad in 1984. A characteristic of the first video works is “first-person discourse” (Jerko Denegri), where the focus is directed to the body and speech of the artist. One of the more interesting examples of early students’ experiments from the video classroom of Professor Poznanović is Lina Busov’s work Venus, dating from 1982, which explores female sensuality and gender identities. It was that very year that the class of Bogdanka Poznanović’s students presented their work ay “The Youth Biennial” in Paris.

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Despite the Academy’s initiative, the presence of video art in Novi Sad and Vojvodina during the 1970’s and 1980’s was modest compared to the vibrant video art scenes in Ljubljana and Zagreb. Editors at TV Novi Sad were not interested in video experiments, so there was no support coming from the television infrastructure, which played an important role in Ljubljana and Zagreb. Under such circumstances, video production was channelled to a greater extent through music pop-culture and not through the art infrastructure. In this domain, the Vranešević brothers, together with their music group Laboratory of Sound, played an important role through their appearances at the Zagreb “Biennial” and the London Institute for Contemporary Arts. Predrag Šiđanin was active during the 1980’s, and in the period between 1987 and 1990 he had an abundant video production and was present on the international art scene. During that period, also active in the sphere of video art were Milica Mrđa and Bálint Szombathy.

Due to the wars fought in the region of the former Yugoslavia during the first half of the 1990’s, video production underwent a crisis and a period of stagnation, and it recovered around the mid-1990’s. Art video production was the domain of Naskoski, Aleksandar Davić, the Group Basis (Vera Midić, Vladimir Barbul, Branka Miličić), Lidija Srebotnjak, Vesna Tokin, Ksenija Kovačević, Dragan Živančević – Professor at the Department of New Fine Arts Media at the Novi Sad Academy, the Association Apsolutno [Absolute], who developed their practice at the international level and notably participated in artistic events abroad. Their activities contributed to the breakthrough and positioning of video art on the contemporary art scene of Vojvodina. In keeping with this trend, the international festival “Videomedeia” was established in Novi Sad in 1996; at first, it was profiled as an international video summit of female authors from Eastern Europe, which internationalised and intensified the discourse on the contemporary art video in Vojvodina. This festival enabled, first of all to the local scene, insight into contemporary tendencies in video art.

The self-organised practices of researching and work on film rely on the tradition established through the amateur film-making movement and the culture of film

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clubs in socialist Yugoslavia (SFRY). Enthusiasm, as one of the greatest assets of the amateur film-making movement from the socialist period, was maintained in the post-socialist period, within the technologically modernised milieu of alternative film. It is sufficient to review the rich archive of the “Low-Fi Video” movement (Belgrade) to realise the order of magnitude of that enthusiasm, which encompasses various contents, genres and authorial aesthetics. The protagonists of the alternative film/video scene, if we except the private spaces, networked and represented themselves at the few gatherings and events held inside our country, of which “The Yugoslav Festival of Cheap Film” – referred to by the acronym JFJF, held for the first time in 1998 in Subotica (and reprised several times), organised by the group K.LJ.U.N. [B.E.A.K], is one of the more important ones. It was during that period that the then young author Szabolcs Tolnai made his first feature film. It was a low-budget black-and-white film entitled Summer Film (Nyári mozi), dating from 1999, an impressive creation for which music was composed by Laikó Félix, who also starred in the lead male role. This film, made as a road movie in Hungarian and Serbian in the plains of Bačka, was about a film crew wandering.Today, it seems like a metaphor of the general aimlessness and marginalisation of the Vojvodinian periphery towards the end of the 1990’s.

Alternative and engaged production, formerly organised under the auspices of film clubs, which started disappearing in the 1980’s, received a fresh impetus in the 1990’s with the introduction of the digital technology in the process of editing and processing image and sound. The use of computers and digital cameras opened up a new chapter in the production of moving pictures, thus actually making it possible for anyone owning the requisite equipment to make a film and edit it at home without the mediation of profiled and professional studios and production houses. The video work Good Evening, dating from 1996, made by Association Apsolutno from Novi Sad, as a critical intervention in the field of media cacophony and TV manipulation, represents one of the pioneering examples of the use of computer editing in artistic practice. The editing method of short cuts presents to us a rapid sequence of introductory greetings from the

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news programmes of various TV stations broadcasting in Serbia via satellite. By speeding up these cuts, the film turns into a delirium of image and sound.

Alternative film production in Novi Sad and Vojvodina received an exceptionally important impulse in 2001, when a young generation of film professionals from the Novi Sad Academy of the Arts initiated the independent film centre “The Film Club Novi Sad”, the idea being to start a production house that would deal with authorial and non-commercial films. The core of the film club team12 was made up of two classes from the Department of Direction of the Novi Sad Academy, supported by numerous friends. Apart from the production of short and several feature films, the activities of the “Film Club” also encompassed film workshops and archiving material inherited from the old “Film Club Novi Sad”. The “Film Club” organised the notable festival of small and independent production “The Film Front”, which, though a slight change of concept, grew out of “The Vojvodinian Festival of Film and Video”, initiated in 2003 in Novi Sad. In Subotica, the festival “Medusa Filmnapok”, focusing on authors from Vojvodina,13 was initiated in 2010, and has had several editions so far.

After the political changes in Serbia of the year 2000, the Autonomous Province of Vojvodina once again started allocating funds for cinematography. During the first decade, authorial feature films were made by directors from the younger generation of graduates from the Novi Sad Academy and members of the “Film Club Novi Sad”: Szabolcs Tolnai, Marin Malešević and Miloš Pušić. After this positive impulse, the support subsided and was mainly maintained formally for a small number of projects. The end of the first decade of the 21st century in Novi Sad, the 2008–2010 period was dismally marked by the closing down of all the cinemas in the city due to their transition from state/social ownership into the hands of private owners (Arena), reconstruction (the cinema of the Cultural Centre Novi Sad – the Youth Panel) or their being left to deteriorate (Jadran).

12 Filip Markovinović, Goran Filipaš, Marin Malešević, Goran Stanković, Ivan Đurić and others. 13 Two years later, an interesting and notable festival of horror and fantasy film entitled “Chrysanthemum” was initiated in Subotica, and Pančevo initiated its own film festival entitled the Pančevo Film Festival (PAFF) in 2014.

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The absurdity of this post-transition episode is additionally confirmed by the fact that it was precisely at that time that the international film festival “Cinema City” was initiated in the capital of Vojvodina, then without a single cinema, under the slogan “The whole city is a cinema”. Those are some of the paradoxes produced by the cultural policy. However, film culture was cultivated in Novi Sad towards the end of the first decade of the 21st century by various organisations in alternative spaces such as Black House CK13 through thematic film cycles, or within the framework of non-profit and self-organised initiatives for film evening programmes which advertised their activities through social networks.

The digital technology has contributed to making the art of film-making accessible to everyone today. Today’s level of democratisation and personalisation of technology enables all users to be at the same time the consumers and producers of visual culture. Among other things, digital cameras of decent quality and computer programmes for film editing are widely available on personal computers, and the acceleration of the Internet makes it possible for each art project to have a global audience. The digitalisation of analogue media had led to media convergence, which makes it possible to watch these recordings on various mobile devices and computers. These processes initiated a wave of fascination with archives, introducing us to a new era of archive fever (Derrida). In this context, what is of interest are projects of artists who collect analogue recordings, digitalise them and create specific digital repositories as a form of their artistic intervention. An example of this practice was presented at the exhibition Technology to the People! through the project of the artist Nataša Vujkov entitled Memorabilia: Lost&Found, dating from 2013, realised as a digital archive of super 8 and 16mm tapes, slides, photographs, picture postcards and letters, of which the majority were found on the so-called Nylon Market in Novi Sad or in abandoned objects and in the street. The significance of such projects consists precisely in discovering lost material or opening forgotten archive wholes for critical rehistorisations that free us from the historical precipitation of reading into stuff.

*

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Generally speaking, the media culture reveals itself to us today as a system of knowledge and practices made possible through innovations, democratisation, popularisation and today’s personalisation of technology, and also through the increasing speed with which various information items are produced, reproduced, taken over and shared. Thus the genealogy of moving pictures (film, television, video) as a part of the media culture is at the same time the history of the processes of its democratisation, that is, accessibility to society. Digitalisation has brought a new “renaissance” in the sphere of film and video production, when the means of producing moving pictures are more accessible to “the people” than ever before. This circumstance evokes the old socialist slogan “Technology to the people!”, based on the egalitarian utopia of the multitudes learning of and participating in the technological culture.The proliferation of moving pictures on video-friendly Internet platforms and social networks (YouTube, Vimeo, Instagram, Facebook, Twitter, etc.), as a consequence of the possibilities brought by the new technology, certainly carries with it changes that are of epistemological significance. In the new economic regime of the increase of production of film and video materials and their distribution, and the increase of information in general, our attention receives a new meaning and sense, it is deficient, becomes a new value that is industrialised and capitalised. The said processes have also significantly transformed institutional, museological roles and practices of collecting, studying and presentation of works of art.

Many old film recordings made using the analogue film medium have been made available today through digitalisation and its hyper-reproductive characteristics on the Net and on various digital devices, so that their studying appears simpler as well. That is why the value generator in the form of critical analysis and theory appears to be necessary in order to select and re(valuate) the abundance of material. In specific and mutually different socio-political contexts, from the first enthusiasts – pioneers of film from the beginning of the 20th century to the present day, the trend of technological innovations and the entire modality of

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production of a particular epoch have shifted moving pictures from the extremely elitist to the mass/popular framework. However, in order to avoid the trap of linear teleological explanation of moving pictures through technology, studying the historical context is of key importance. Dominant ideologies, political characteristics, lifestyles and visions have influenced the practices in the medium of film and video, as well as their continuities or discontinuities.

Experiments in film and video that explored the boundaries of the medium itself and shifted its previous conventions, introduced new film languages and themes, film and video practices aimed at social criticism or self-criticism, mainly came into being within the framework of alternative art systems of production and self-organised initiatives. Film-making amateurism and non-commercial film are based, first of all, on enthusiasm and passion, and thus they have contributed to social emancipation in connection with discovering the powers and freedoms offered by moving pictures. That is why the studying and discovering of less visible alternative film productions is at the same time an attempt at entering the avant-garde in the master narratives of art history. Avant-garde ideas have also broken through the mainstream of the professional cinematographic system, so that for studying film and video production through history it is essential to bypass the traditional distinctions that separately valuate amateurism and professionalism. This approach contributes to reviewing the entire amplitude of the most important art.

The project Technology to the People! Film and Video in Vojvodina is just a case study and a model of (re)historisation within the framework of curatorial practice aimed at sketching some future collection or permanent exhibition display that would present film and video productions in a museum whose focus is towards the art of a cultural region.

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bioskopi-pretvarani-u-magacine-i-trzne-centre/vw8yqdb

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1896. Počeci kinematografskih delatnosti na prostoru Vojvodine / vreme putujućih kinematografa.

07.11.1896. Prva veštačka predstava s projekcijama u pozorištu Dunđerski, Novi Sad (sadašnji hotel Vojvodina).

07.01.1897. Prikazan film Dolazak vlaka u železničku novosadsku stanicu u Tričkovoj kafani na Terazijama u Beogradu.

1901. Osnovan ÚJVIDÉKI / NOVOSADSKI FOTO-KLUB (koji se bavio i filmom).

1901. Putujući Elektro-bioskop Lifka osnovan u Trstu.

1902. Snimljen film o Paliću (Újvidéki foto-klub) – prva vojvođanska produkcija.

1906. Prvi stalni bioskop u Somboru.

1909. Ernest Bošnjak nabavio filmsku kameru i počinje snimanje filma U državi Tepsihore (izgubljeni projekat).

1911. Prvi stalni bioskop Lifka mozi u Subotici.

1911. Aleksandar Lifka snima prve lokalne filmske žurnale.

1915. Prvi igrani film Vladimira Totovića: Spasilac (nije sačuvan).

1916. Igrani film Lopov kao detektiv Vladimira Totovića (nije sačuvan).

1921. Prvi članak srpske teorije filma: Boško Tokin, Pokušaj jedne kinegrafske estetike.

1923. Osnovana fabrika filma Boer film u Somboru (Ernest Bošnjak).

1924. Osnovano preduzeće Titan film u Starom Bečeju (Danilo Jakšić).

1924. Planinarsko društvo Fruška gora – centar okupljanja ljubitelja filma.

1929–1930. Časopis Sport i film (ur. Ernest Bošnjak).

1934–5. Prvi poznati kolor film u Vojvodini Skijanje na Fruškoj gori (Društvo Fruška gora).

1946. Formirana Komisija TEHNIKA I SPORT pri Fiskulturnom savezu Jugoslavije – obuhvatala društva foto i kino amatera Jugoslavije / iz nje poniklo Društvo foto kino amatera Novog Sada / kasniji FKVSV – Foto kino (i video) savez Vojvodine.

* Hronologiju priredili: Gordana Nikolić, Aleksandar Davić. Konsultanti: Mika Putnik, Borivoj Mirosavljević

HRONOLOGIJA NAJZNAČAJNIJIH DOGAĐAJA I MANIFESTACIJA U VEZI S POKRETNIM SLIKAMA U VOJVODINI*

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1948. Formirana samostalna organizacija NARODNA TEHNIKA JUGOSLAVIJE – obuhvatala i prve klubove mladih tehničara u školama (dečji i omladinski kino klubovi).

1951. Osnovan KINO KLUB SLAVKO VORKAPIĆ – 1952. preimenovan u KINO KLUB NOVI SAD (KKNS).

1954. Prvi Festival amaterskog filma Vojvodine (FKVSV).1954. Prvi FESTIVAL JUGOSLOVENSKOG (IGRANOG) FILMA u Puli.

1956. Osnovan Centar za prosvetni film Vojvodine.

1956. Savetovanje o uticaju filma na decu i omladinu Film i omladina, Novi Sad (Savet društava za brigu o deci i omladini Jugoslavije).

1958. Kino sekcija Ogled u osnovnoj školi Đorđe Natošević, Novi Sad.

1959. Pokrenut JUGOSLOVENSKI FESTIVAL DOKUMENTARNOG I KRATKOMETRAŽNOG FILMA u Beogradu.

1960. Međuklupski festival amaterskog filma u Somboru (Kino klub Ernest Bošnjak) – 1979. prerastao u Festival podunavskih zemalja.

1960-ih – Kino bus (KKNS): putujuće projekcije filmova širom Vojvodine (Srem najsiromašniji sa bioskopima).

1961. Jugoslovenski festival dečjeg filma.

1962. Prvi pančevački amaterski film 8 mm kamerom – N-ova noć Ivan Rakidžića i Gradimira Stojkovića (nije sačuvan).

1963. Prvi GEFF (Žanr film festival) u Zagrebu.

1965. Festival 8 MM AMATERSKI FILM JUGOSLAVIJE u Novom Sadu (Martovska osmica).

1965. Prvi MAFAF (Mala Pula – Međuklupski i autorski festival amaterskog filma).

1965. UNICA (The International Union of Non-Professional Cinema / Međunarodni savez kinoamatera) konferencija u Zagrebu.

1966. Osnovana filmska produkcijska kuća NEOPLANTA FILM u Novom Sadu (direktor Sveta Udovički).

1966–1971. Zlatne godine Neoplanta filma.

1968. Novosadska filmska škola za nastavnike na Radničkom univerzitetu u Novom Sadu – direktno uticalo na uvođenje filma u školsku nastavu.

1968. Film Nezaposleni ljudi, r. Želimir Žilnik (Grand Prix, Internationale Kurzfilmtage Oberhausen).

1969. Film Rani radovi, r. Želimir Žilnik (Goldener Bär, Internationale Filmfestspiele Berlin).

1969. Prva smotra filmova dece i srednjoškolske omladine, Kula.

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1971. WR Misterije organizma, r. Dušan Makavejev (Internationale Filmfestspiele Berlin [Forum]: FIPRESCI nagrada – poseban pomen, Interfilm nagrada – preporuka).

1971. Početak državnog obračuna sa crnim talasom i novosadskom neoavangardom.

1971. Osnovana filmska produkcijska kuća PANFILM – naslednik Foto kino kluba Pančevo (direktor Borislav Milanović).

1971. ŽISEL, festival amaterskog filma na temu život sela u Omoljici (Kino klub Omoljica).

1971. FEST u Beogradu.

1971. Savet radne zajednice Radio-Novog Sada doneo odluku o stvaranju samostalne radne jedinice - Televizije Novi Sad.

1972–1974. Uklonjeno rukovodstvo Neoplanta filma i urednički odbori časopisâ Polja, Új Symposion i Index.

1972. Postavljeno novo rukovodstvo u preduzeću Neoplanta film (direktor Draško Ređep do gašenja institucije) – sanitarizacija naslovâ i sadržajâ.

1972. Skupština AP Vojvodine donela odluku o prerastanju radija u Radio-televiziju Novi Sad (RTNS).

1972. Svjetski festival animiranog filma ANIMAFEST u Zagrebu.

1974. Međuklupski festival amaterskog filma u Bačkoj Topoli (Kino foto klub Prizma).

1975. TV NS emituje prvi program iz svog studija.

1976. Osnovana katedra za intermedijalnu režiju (film, pozorište, televizija, radio) na Akademiji umetnosti u Novom Sadu (klasa prof. Bore Draškovića).

1977. Sabor alternativnog filma, Split.

1978. Novosadska Akademija umetnosti, zalaganjem prof. Bogdanke Poznanović, nabavila četvrtinčnu AKAI kameru za nastavu i produkcijske potrebe.

1979. Osnovana katedra za proširene medije na Akademiji umetnosti u Novom Sadu (prof. Bogdanka Poznanović) – video-umetnost u nastavi.

1980-ih – Prvi kućni video-rekorderi u Jugoslaviji, ubrzo se osnivaju prvi video-klubovi – zlatne godine video-piraterije.

1982. Alternativni film festival, Beograd.

1983. Internacionalno video bijenale Video CD 83, Ljubljana, Cankjarev dom.

1983. Dani fotografije, filma i televizije, Novi Sad (FKVSV) – kasnije FOFITES - emitovanje programa lokalne TV tokom trajanja festivala.

1984. Video-radionica Osnovni tečaj videa u Kino klubu Novi Sad (FKVSV).

1985. Neoplanta film se gasi nakon afere s filmom Veliki transport (r. Veljko Bulajić), a filmski negativi i kopije se dodeljuju distributerskoj kući Zvezda film – deo

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filmskog materijala propao (jedan deo se danas čuva u Jugoslovenskoj kinoteci u Beogradu).

1987. U Novom Sadu osnovana filmska produkcijska kuća TERRA FILM.

1988. UNICA konferencija u Dubrovniku.

1990-ih Umnožavanje televizijskih stanica u Srbiji.

1991. Zvanično ugašen pančevački Panfilm.

1991. Zakon o radio-televiziji objedinio tri nezavisna preduzeća (RTV Beograd, Novi Sad i Prištinu) u Radio-televiziju Srbije.

1996. Pokrenut međunarodni video-festival VIDEOMEDEJA.

1997. Pokrenut Festival etnografskog filma u Gospođincima (FKVSV, Kulturno-istorijsko društvo PČESA, Osnovna škola Žarko Zrenjanin iz Gospođinaca).

1998. Prvi JFJF – Jugoslovenski festival jeftinog filma (organizacija K.LJ.U.N) u Subotici.

2001. Pokrenut NFC KINO KLUB NOVI SAD.

2003–4. Vojvođanski festival filma i videa (Kino klub NS i SKC NS) u Novom Sadu.

2005. Festival malih i nezavisnih filmskih produkcija FILMSKI FRONT (NFC Kino klub Novi Sad) u Novom Sadu.

2008–10. Novi Sad bez bioskopa.

2010. MEDUSA FILMNAPOK, dani filma u Subotici.

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1896 The beginning of cinematographic activities in Vojvodina, a time of travelling cinemas.

07.11.1896 The first artificial performance with projections held at the Dunđerski theatre, Novi Sad (the Hotel Vojvodina today).

07.01.1897 The film The Arrival of a Train at the Novi Sad Railway Station shown at Tričko’s restaurant in Terazije Square, Belgrade.

1901 The ÚJVIDÉKI / NOVI SAD PHOTO-CLUB established (which dealt with film as well).

1901 The travelling Electro-cinema Lifka founded in Trieste.

1902 A film about Palić made (by the Újvidéki photo-club) – the very first Vojvodina production.

1906 The first permanent cinema opened in Sombor.

1909 Ernst Bošnjak procured a movie camera and started working on the film In the State of Tepsihor (project subsequently lost).

1911 The first permanent cinema, called Lifka mozi, established in Subotica.

1911 Aleksandar Lifka recorded the first local newsreels.

1915 The first feature film made by Vladimir Totović: Saviour (it has not been preserved).

1916. Vladimir Totović made the feature film Thief Acting as a Detective (it has not been preserved).

1921 Boško Tokin published the first article within the framework of Serbian film theory: An Attempt at Establishing Cinematographic Aesthetics.

1923 The first factory for manufacturing film, called Boer Film, established in Sombor (Ernest Bošnjak).

1924 The film enterprise Titan film established in Stari Bečej (Danilo Jakšić).

1924 The mountaineering association Fruška gora [Mt Fruška] founded – a centre gathering film aficionados; in the 1930’s, they made the first colour film in Vojvodina, Down the Drina River on a Raft.

* Chronology edited by: Gordana Nikolić, Aleksandar Davić. Consultants: Mika Putnik, Borivoj Mirosavljević Chronology edited by: Gordana Nikolić, Aleksandar Davić. Consultants: Mika Putnik, Borivoj Mirosavljević

CHRONOLOGY OF MAJOR EVENTS AND MANIFESTATIONS RELATED TO THE MOVING PICTURES IN VOJVODINA*

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1929-1930 The periodical Sport i film [Sport and Film] published (edited by Ernest Bošnjak).

1934-5. The first known color film in Vojvodina Skiing on Fruška Gora (Fruška Gora society).

1946 The Commission for Technology and Sport established within the framework of the Physical Culture Association of Yugoslavia, encompassing the Association of Photo and Film Amateurs of Yugoslavia, from which the Photo Cinema (later also Video) Association of Vojvodina (PCVAV) originated.

1948 The independent organisation PEOPLE’S TECHNOLOGY OF YUGOSLAVIA established, encompassing the first clubs of young technicians in schools (children’s and youth film clubs).

1951 The FILM CLUB SLAVKO VORKAPIĆ established; in 1952 changed its name to the FILM CLUB NOVI SAD.

1954 The First Festival of Amateur Film of Vojvodina held (PCVAV).

1954 The first YUGOSLAV FESTIVAL OF FEATURE FILMS held in Pula.

1956 The Centre for Educational Film of Vojvodina established.

1956 A symposium on the influence of films on children and the young entitled Film and the Young held in Novi Sad (organised by the Council of the Associations for the Care of Children and the Youth of Yugoslavia).

1958 The film section Experiment founded at the primary school Đorđe Natošević Novi Sad.

1959 The YUGOSLAV FESTIVAL OF DOCUMENTARY AND SHORT FILM initiated in Belgrade.

1960 The Interclub Festival of Amateur Film initiated in Sombor (the Film Club Ernest Bošnjak); in 1979, turned into the Festival of the Danube Basin Countries.

In the 1960’s The Cinema Bus (the Film Club Novi Sad) – a travelling cinema showing films throughout Vojvodina (the fewest cinemas were to be found in the Srem region).

1961 The Yugoslav Festival of Children’s Film.

1962 The first amateur film made in Pančevo using an 8mm camera; title: N’s Night, made by Ivan Rakidžić and Gradimir Stojković (it has not been preserved).

1963 The first GEFF (Genre Film Festival) held in Zagreb.

1965 The Festival of 8MM AMATEUR FILMS OF YUGOSLAVIA held in Novi Sad (the March Eight).

1965 The first MAFAF (Little Pula – Interclub and Authorial Festival of Amateur Film) held.

1965 UNICA (The International Union of Non-Professional Cinema) held in Zagreb.

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1966 The NEOPLANTA FILM production house founded in Novi Sad (manager: Sveta Udovički).

1966–1971 The golden age of Neoplanta Film.

1968 The Novi Sad Film School for teachers established at the Workers’ University in Novi Sad; resulted in the introduction of film in schools.

1968 The film Unemployed People, directed by Želimir Žilnik (Grand Prix, Internationale Kurzfilmtage Oberhausen).

1969 The film Early Works, directed by Želimir Žilnik (Goldener Bär, Internationale Filmfestspiele Berlin).

1969 The first review of the films for children and school youth, Kula.

1971 WR Mysteries of the Organsm, directed by Dušan Makavejev (Internationale Filmfestspiele Berlin, the FIPRESCI Prize – Special Mention, the Interfilm Prize – Recommendation).

1971 THE STATE CRACKS DOWN ON THE BLACK WAVE AND THE NOVI SAD NEOAVANT-GARDE MOVEMENT.

1971 The PANFILM production house founded – as a successor to the Photo Film Club Pančevo (manager: Borislav Milanović).

1971 The ŽISEL festival of amateur film dealing with life in rural areas is initiated in Omoljica (by the Film Club Omoljica).

1971 FEST is initiated in Belgrade.

1971 Radio Novi Sad Working Community Council issued the decision on creating an independent working unit - Novi Sad Television.

1972–1974 The management of Neoplanta Film and the editorial boards of the Polja, Új Symposion and Index periodicals sacked.

1972 A new management established at Neoplanta Film (manager: Draško Ređep, until this institution was closed down) – the titles and contents of films undergo a process of sanitisation.

1972 Autonomous Province of Vojvodina Assembly issued the decision on transformation of Radio Novi Sad into Radio-Television Novi Sad.

1972 The world festival of cartoon films, ANIMAFEST, held in Zagreb.

1974 The Interclub Festival of Amateur Film initiated in Bačka Topola (by the Film-Photo Club Prizma).

1975 THE NOVI SAD TELEVISION broadcasts from its studio for the first time.

1976 The Department of Intermedia Directing (film, theatre, television, radio) established at the Academy of Arts in Novi Sad (the class of Professor Boro Drašković).

1977 Alternative Film Congress, Split

1978 The Academy of Arts in Novi Sad, owing to the efforts of Professor Bogdanka Poznanović, procures a 0.25-inch AKAI

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camera for teaching and production purposes.

1979 The Department of Expanded Media established at the Academy of Arts in Novi Sad (Professor Bogdanka Poznanović) – video art is taught.

In the 1980’s The first home video recorders go on sale in Yugoslavia; soon afterwards, the first video clubs are founded – the golden age of video piracy.

1983 Days of Photography, Film and Television, Novi Sad (PCVAV) – later on entitled FOFITES – a local TV programme broadcast during the course of the festival.

1984 The video workshop the Basic Video Course initiated at the Film Club Novi Sad (PCVAV)

1985 Neoplanta Film is closed down following the affair pertaining to the film The Great Transport (directed by Veljko Bulajić); the negative and copies of the film are given to the Zvezda Film distributing house – a part of the recorded material has perished in the meantime (a part of it is kept at the Yugoslav Film Museum in Belgrade).

1987 The TERRA FILM production house founded in Novi Sad.

1988 UNICA conference in Dubrovnik.

In the 1990’s TV stations proliferate in Serbia.

1991 Panfilm, Pančevo, is officially closed down.

1991 The Law on Radio-Television united three independent firms (RTV Belgrade, Novi Sad and Priština) into Serbian Radio-Television.

1996 The international video festival VIDEOMEDEJA initiated.

1997 The Festival of Ethnographic Film initiated in Gospođinci (PCVAV, the Cultural-historical Association PČESA [the abbreviation stands for Spring in the Farms of Čenej], the Žarko Zrenjanin primary school, Gospođinci).

1998 The first Yugoslav Festival of Cheap Film (organised by K.LJ.U.N) held in Subotica.

2001 The NFC FILM CLUB NOVI SAD initiated.

2003–4 The Vojvodina Festival of Film and Video (the Film Club Novi Sad and the Students’ Cultural Centre Novi Sad) held in Novi Sad.

2005 The Festival of Small and Independent Film Productions THE FILM FRONT (the NFC FILM Club Novi Sad) held in Novi Sad.

2008–10 Novi Sad left without a cinema.

2010 MEDUSA FILMNAPOK (days of film) held in Subotica.

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28. 12. 1895. Prva bioskopska projekcija sa plaćenim ulaznicama u Salon Indien du Grand Café u Parizu. Prikazano je deset kratkih filmova braće Limijer (Auguste Lumière, Louis Lumière)

1902. Prvi kolor-film, pronalazač Edvard Rejmond Tarner (Edward Raymond Turner)

1908. Kinemacolor – prvi kolor-proces u komercijalnoj upotrebi, pronalazač Džordž Albert Smit (George Albert Smith; Urban Trading Co, London)

1916. Technicolor – kolor-proces koji će biti usavršavan narednih decenija (Technicolor Motion Picture Corporation, Boston)

1922. Prvi 3-D film prikazan publici sa plaćenim ulaznicama

1922. Li de Forest (Lee De Forrest) demonstrira metod za snimanje zvuka na ivici filmske trake

1923. Eastman Kodak predstavio 16 mm film kao jeftiniju amatersku alternativu standardnom 35 mm filmskom formatu

1927. Prvi dugometražni zvučni film sa dijalogom – Jazz Singer (Warner Bros.)

1932. Eastman Kodak predstavio 8 mm film

1935. Technicolor predstavio trobojni process

1936. Direktan prenos Olimpijskih igara u Berlinu preko kabla do TV stanica u Lajpcigu i Berlinu

1936. BBC počeo redovno emitovanje programa

1937. BBC počeo da koristi telekino (uređaj koji je omogućavao emitovanje programa snimljenog na filmskoj traci)

1952. Prvi kolor 3-D film – Bwana Devil

1953. CinemaScope – anamorfni objektivi koji su omogućavali projekcije 2,35:1, 2,39:1 ili 2,40:1 (20th Century Fox)

1954. Prvo emitovanje televizijskog programa u boji (SAD)

1956. Prvi komercijalno uspešan video-rekorder AMPEX VRX-1000

1965. Eastman Kodak predstavio Super 8 film

1967. Portapak (Sony Video Rover) – prvi video-sistem koji je mogla nositi jedna osoba (crno-bela kamera i video-rekorder za traku od pola inča)

1970. Prikazan prvi IMAX film – Tiger Child – na EXPO 70, Osaka (Japan)

1975. Betamax – video-format namenjen širokom tržištu (Sony)

ZNAČAJNI PRONALASCI U TEHNOLOGIJI POKRETNE SLIKE

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1976. VHS (Video Home System) – video-format namenjen širokom tržištu (JVC) koji će za nekoliko godina postati dominantan na tržištu

1981. Pokrenut MTV (Music Television) – mainstream muzički video

Sredina 1990-ih – Početak popularizacije i komercijalizacije interneta

1995. DV – format za snimanje digitalnog videa

1995. DVD – optički disk (Philips, Sony, Toshiba, Panasonic)

2000. STAR WARS – Episode II Attack of the Clones sniman digitalnom filmskom kamerom HDW-F900 (Sony, Panavision)

2002. DCI (Digital Cinema Initiatives) – zajednička inicijativa za razvijanje sistemske specifikacije za digitalnu kinematografiju (Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal, Warner Bros.)

2005. Video-friendly internet i društvene mreže: YouTube, Google videos, Yahoo! Video, Facebook, Myspace

2006. Prvi filmovi objavljeni na Blue-ray disku

2007. Red One digitalna filmska kamera

2008. Blue-ray postaje industrijski standard

2010. Arri Alexa digitalna filmska kamera

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28.12.1895 The first public cinema screening before an audience with paid tickets, held at the Salon Indien du Grand Café in Paris. Ten short films by the Lumière brothers (Auguste Lumière, Louis Lumière) were shown.

1902 The first colour film, patented by Edward Raymond Turner.

1908 Kinemacolor – the first colour process in commercial use, developed by George Albert Smith (Urban Trading Co., London).

1916 Technicolor – colour process that would be further developed over the course of the subsequent decades (Technicolor Motion Picture Corporation, Boston).

1922 The first 3-D film shown to an audience with paid tickets.

1922 Lee De Forrest demonstrates a method for recording sound on the edge of a strip of motion picture film.

1923 Eastman Kodak presented the 16mm strip of motion picture film as a cheaper amateur alternative to the standard 35mm format.

1927 The first sound feature film including dialogue shown. It was The Jazz Singer (Warner Bros.).

1932 Eastman Kodak presented the 8mm strip of motion picture film.

1935 Technicolor presented the tricolour process.

1936 Live broadcasts of the Olympic Games held in Berlin via cable to TV stations in Leipzig and Berlin.

1936 BBC started broadcasting television programmes on a regular basis.

1937 BBC started using the Telekino (a device that enabled broadcasting a programme recorded on a motion picture film strip).

1952 The first colour 3-D film is shown. It was Bwana Devil.

1953 CinemaScope – anamorphic lens enabling projection with a 2.35:1, 2.39:1 or 2.40:1 aspect ratio (20th Century Fox).

1954 The first live broadcast of a colour television programme (USA).

1956 The first commercially successful video recorder – AMPEX VRX-1000, presented.

1965 Eastman Kodak presented the Super 8mm film.

1967 Portapak (Sony Video Rover) – the first video system that could be carried by one person (a black-and-white camera and video recorder using a 0.5-inch tape).

SIGNIFICANT INVENTIONS IN THE TECHNOLOGY OF MOTION PICTURE

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1970 The first IMAX film – Tiger Child, shown at the EXPO 70, held in Osaka, Japan.

1975 Betamax – a video format intended for the general market (Sony).

1976 VHS (Video Home System) – a video format intended for the general market (JVC), which would come to dominate the market in a few years.

1981 MTV (Music Television) started broadcasting – mainstream music video.

The mid-1990’s The beginning of the popularisation and commercialisation of the Internet.

1995 The DV format for recording digital video introduced.

1995 DVD – optical disc (Philips, Sony, Toshiba, Panasonic).

2000 STAR WARS – Episode II, Attack of the Clones, recorded with the HDW-F900 digital movie camera (Sony, Panavision).

2002 DCI (Digital Cinema Initiatives) – a joint initiative for developing system specifications for digital cinematography (Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal, Warner Bros.).

2005 Video-friendly Internet and social networks: YouTube, Google videos, Yahoo! Video, Facebook, MySpace.

2006 The first films published on Blu-ray discs.2007 The Red One digital film camera.

2008 Blu-ray became the industrial standard.

2010 The Arri Alexa digital film camera.

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§ Pioniri filma / Film pre II svetskog rata Film Pioneers / Film before World War II

- Otkrivanje spomenika Ferencu Rakočiju u Somboru 1911. [35mm, 102m. Reditelj: Ernest Bošnjak. Boer film, 1911]

- Probne snimke prve jugoslovenske tvornice filmova [35mm, 214m. Reditelj: Ernest Bošnjak. Boer film, 1923]

- Happy End [35mm, Reditelj i glumac: Rodoljub Malenčić.1929]

- Izbor lepotice na Paliću (žurnal Novakovića) [35mm, 275m. Scenario i režija: Kosta Novaković. Novaković film, 1930]

- Karneval u Beloj Crkvi [35mm, 117m. Scenario i režija: Franjo Ledić. Jadran film, 1930]

- Skijanje na Fruškoj Gori [16mm. Kinematografi: dr. Žarko Kapamadžija i Karl Schaffer. Društvo Fruška Gora, 1934–1935]- Aprilski rat 1941. u Petrovaradinu [8mm-16mm, 30m. Lazar Velicki, 1942]

- Filmski žurnal Film Journal- Omladinsko prvenstvo za žene

u Vršcu [35mm, 29m. Filmske novosti br. 40, 1956]

- Leto na Paliću [35mm, 266m, dokumentarni. Scenario i režija: Čoči Mikieli. Snimatelj: Milenko (Miša) Stojanović. Slavija film, 1961]

- Tito na Novosadskom Sajmu [35mm, 25m. Filmske novosti br.21, 1963]

- Disko klub [35mm, 49m. Filmske novosti br.5, 1971]

- Amaterski film / Kino klubovi od 1950-ih do 1980-ih godina Amateur Film / Cinema Clubs from the 1950s to the 1980s- Tragom krvave tajne [16mm, 10’, c/b. Scenarista, reditelj i kamerman: Borivoj Mirosavljević. Organizator snimanja: Prvoslav Marić. Muzika: Marija Popović i Stanislav Stepanović. Učestvuju: Petar Latinović, Angelina Joksimović, Boško Čanković, Vojislav Soldatović. Kino klub Novi Sad, 1957]- Sanjivi Gaučo [16mm, 7’, c/b. Scenario i režija: Borivoj Mirosavljević. Saradnici: Petar Jovanović, Miodrag Zorić, Petar Latinović itd. Kino klub Novi Sad, 1957]- Produkcija Kino kluba Ruma [Nepoznati autori. 1960-ih i 1970-ih godina]- Proleće je došlo u stan mog brata Čarlija [8’. Režija: Ivan Rakidžić. Pančevo, 1966]- Advokat [17’32’’. Autor: Artur Hoffmann. Kino klub Novi Sad]- Iz albuma saobraćajca [16mm, 18’, c/b. Režija, scenario, montaža, kamera: Borivoj Mirosavljević. Asistent montaže: Neva Habič i Boško Čankovski. Tonski snimatelj: Stanislav Stepanović. Fotograf: Jovan Vajdl. Konsultanti: Pal Vanderer, Filip

IZVORI ZA ISTRAŽIVANJE - SPISAK PREDSTAVLJENIH FILMSKIH I VIDEO PRODUKCIJA U OKVIRU PROJEKTA TEHNOLOGIJA NARODU! (FILM I VIDEO U VOJVODINI) SOURCES FOR RESEARCH - A LIST OF FILM AND VIDEO PRODUCTIONS PRESENTED IN THE PROJECT TECHNOLOGY TO THE PEOPLE! (FILM AND VIDEO IN VOJVODINA)

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Aničić i Predrag Dragutinović. Igraju: Roža Poša, Piroška Pešti, Živko Vasić, Stevan Lazukić, Predrag Dragutinović, Rade Štrboja, Rade Ožegović, Dragi Kraus itd. Kino klub Novi Sad, 1956]- Jutro [5’, kolor. Autor: Milivoje Unuković. 1976]- Detant [ 2’57’’, c/b, animirani. Autor: Nikola Grujić. Kino klub Pro arte, Novi Sad]- Igra [5’36’’, c/b, igrani. Autori: Ksenija Popović, Slobodan Miletić, Ksenija Martinov, Bora Bajić. Kino klub Novi Sad]- Iš [8’36’’, c/b, igrani. Autori: D. Jović, R. Kojadinović, A. Hrnjaković. Kino klub Novi Sad]- Panta Rei [5’’15’’, eksperimentalni, c/b. Autor: Goran Sredojev. Kino klub Sombor]- Petak 13. [3’41’’, c/b. Nepoznat pravi naslov. Nepoznat autor. Kino klub Novi Sad]- Volim te [0’38’’, kolor, animirani. Autorska grupa CVI. Kino klub Novi Sad]

- Konceptualna umetnost i nova umetnička praksa Conceptual Art and The New Art Practice- Novosadska gradska komuna 1970-ih- Belo Plus [Slavko Matković, 1971]- Film o grupi Bosch+Bosch [Slavko Matković, 1972]- Manijak 7001 [Božidar Mandić, 1974]

- Neoplanta film Novi Sad- Gratinirani mozak Pupilije Ferkeverk [35mm, kolor, 305m, kratki igrani. Scenario, režija, snimatelj: Karpo Aćimović Godina. Neoplanta film, 1969]- 70-te sezonci [35mm, 375m,

dokumentarni. Scenario i režija: Prvoslav Marić, Snimatelj: Dušan Ninkov. Neoplanta film, 1970]- Život omladine na selu, zimi [35mm, 15’. Scenario i režija: Želimir Žilnik. Snimatelj: Mihajlo Jovanović – Ciga. Ton majstor: Dragan Stanojević. Montaža: Dragan Mitrović, Slobodan Mladenović. Neoplanta film, 1967]- Rani radovi [35mm, 87’. Režija: Želimir Žilnik. Scenario: Želimir Žilnik, Branko Vučićević. Dodatni dijalozi: Karl Marks i Fridrih Engels. Kamera i montaža: Karpo Aćimović Godina. Uloge: Milja Vujanović, Bogdan Tirnanić, Čedomir Radović, Marko Nikolić, Slobodan Aligrudić. Neoplanta film, Avala Film, 1969]- Beli ljudi [35mm, 320m, kratki igrani. Scenario: Naško Križnar, Milenko Matanović i David Nez. Režija: Naško Križnar. Neoplanta film, 1968]- Zdravi ljudi za razonodu [35mm, kolor, 270m, dokumentarni. Scenario, režija, snimatelj: Karpo Aćimović Godina. Muzika: Predrag Vranešević. Neoplanta film, 1971]- Iskušenje [35mm, 9’30’’, animirani. Režija i scenario: Borislav Šajtinac. Neoplanta film, 1971], DVD u kolekciji MSUV.- Nevesta [35mm, 8’11’’, animirani. Režija i scenario: Borislav Šajtinac. Neoplanta, 1971], DVD u kolekciji MSUV.- Nije ptica sve što leti [35mm, 8’44’’, animirani. Režija i scenario: Borislav Šajtinac. Kamera: Veka Kokalj, Montaža: Verica Mihailović. Muzika: Vojislav Kostić. Zvuk: Marjan Radojičić. Neoplanta film, 1970], DVD u kolekciji MSUV.- Trijumf [35mm, 8’, animirani. Režija i scenario: Borislav Šajtinac. Neoplanta film, 1972], DVD u kolekciji MSUV.

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- Panfilm Pančevo- Put [35mm, 130m, animirani.

Scenario, režija, crtež, animacija, snimatelj: Stevan Živkov. Inspirisan satirom Vođa Radoja Domanovića. Montaža: Vera Baronijan. Panfilm, 1978/1990. odobren za prikazivanje]

- Na ljuljašci [35mm, 328m, kolor, dokumentarni. Reditelj i scenarista: Miloš Nikolić. Snimatelj: Dragan Mančić. Montaža: Petar Aranđelović. Panfilm, 1975]- Blizanci [35mm, 350m, kolor, igrani. Reditelj i scenarista: Svetislav Štetin (po ideji Ljumobira Jokanovića). Snimatelj: Petar Lalović. Montaža: Aleksandar Ilić. Glume: Miodrag Andrić, Dragomir Čumić. Panfilm, 1973]- Nova jutra stare varoši [35mm, 301m, kolor, dokumentarni. Režija: Ivan Rakidžić. Scenario: Dragutin Ilkić. Snimatelj: Miroslav Stanković. Montaža: Vuksan Lukovac. Panfilm, 1985]- Trudna zemlja [16mm, 300m, kolor, dokumentarni. Režija: Nikola Majdak. Scenario: Ljubomir Reljić. Snimatelj: Nevenka Redžić. Montaža: Sarina Stefanović.Panfilm, 1975]- Beočin – Testera [35mm, 560m, kolor, dokumentarni. Režija i scenario: Vukoman Milovanović. Snimatelj: Miroslav Stanković. Panfilm, 1986]

- Dokumentarni film o produkcijskoj kući Panfilm Documentary on Panfilm Production House:- Panfilm pogledi sećanja [58’ Scenario i režija: Radiša Stanišić, Snimatelj i montažer: Radiša Stanišić. Postprodukcija i grafički dizajn: Pavle Halupa. Pančevo, 2013], premijera u Muzeju savremene umetnosti Vojvodine u okviru projekta Tehnologija

narodu (film i video u Vojvodini), februara 2013.

- Radio-televizija (Novi Sad) Vojvodine Radio-Television (Novi Sad) Vojvodina:- Intervju sa Bogdankom Poznanović [Režiser: Tomislav Perica. Snimatelj: Vladimir Rašić. TV Novi Sad, 1984]- Jesen Đure Dražetića[62’27’’, po motivima priče iz zbirke Nasilje Aleksandra Tišme. Scenarista i snimatelj: Jan Makan. Snimatelj: Branko Ivatović. Glumci i učesnici: Stojan Aranđelović, Gorica Popović, Mirjana Gradinivački, Milan Srdoč, Dobrila Šokica, Mihailo Pleskonjić, Stevan Gardinovački, Rade Kojadinović, Dragiša Šokica, Tihomir Stanić, Miodrag Petrović, Milan Pletl, Veljko Macut, Gordana Kamenarović, Aleksandra Carić, Zoran Vapa. TV Novi Sad, 1983]- Mišo [75’, po motivima romana Jana Čajaka mlađeg. Scenario i režija: Jan Makan, Branko Ivatović. Glumci i učesnici: Marian Slovak, Stela Ćetković, Ana Tomanova, Dušan Jamri; Ana Kardevis, Vladislava Milosavljević, Miroslav Babiak, Juraj Ondrik, Miroslav Benka, Michal Vida, Jan Čani, Maria Chlebianova, Katarina Melegova, Milinka Florianova, Ana Kozova, Maria Marekova, Maria Trpinska, Tomaš Hriešik, Michal Babaik, Jan Makan, Ondrej Brna, Peter Lazar, Marina Gašparova, Jan Chalupka, Ibolja Stojković, Ilija Maleš, Pavel Pavik, Kud „Jednota“ Hložani. TV Novi Sad, 1985]- Miklošićeve sirene [54’85’’, drama po motivima Veljka Petrovića. Reditelj: Balaž Eva. Scenario: Filip David. Snimatelj: Zoltan Apro. Glumci i učesnici: Vladislava Milosavljević, Branislav Lečić, Miodrag Krstović, Ibi Romhanji, Petar Radovanović, Laslo Feldi, Katalin Ladik, Valerija Kerekeš,

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Aleksandra Pleskonjić, Aleksandra Carić, Predrag Momčilović, Nebojša Bakočević, Đorđe Kantar, Jožef Horvat. TV Novi Sad, 1985]- Panonski vrh [93’, drama na mađarskom jeziku. Scenario: Balaž Atila i Petrović Eva. Reditelj: Petrović Eva. Snimatelj: Apro Zoltan. Glumci i učesnici: Ištvan Bičkei, Boroš Tapai, Kornelija Dobre Deneš, Bakota Arpad. TV Novi Sad, 1989]- Bacač noževa [89’17’’, drama na mađarskom jeziku po knjizi Gion Nandora sa titlom na sr. Scenarista: Domokli Janoš. Snimatelj: Nemet Arpad. Reditelj: Karolj Viček, Kompozitor: Lenđel Gabor. Glumci i učesnici: Feldi Laslo, Ladik Katalin i Feješ Đerđ. TV Novi Sad, 1984]- Holivud na Dunavu – priča o Ernestu Bošnjaku [29’15’’. Reditelj: Nikola Majdak. Tekst: Nikola Bošnjak. Snimatelj: Arpad Nemet. Učesnici: Irena Novak Bošnjak - Bošnjakova žena, Ištvan Nemeškorti - istoričar filma iz Budimpešte, Stevan Jovičić - istoričar filma iz Beograda, Mihalj Tilger - Bošnjakov scenarista iz Bačke Topole. TV Novi Sad, em. 1978]- Detektiv kao lopov – priča o Vladimiru Totoviću [28’02’’. Scenarista i reditelj: Nikola Majdak. Snimatelj: Arpad Nemet. Učesnici: Julijana Totović - sestra, Ištvan Nemeškorti - istoričar filma iz Budimpešte, Eržebet Garai - istoričar filma iz Mađarske, Stevan Jovičić - istoričar filma iz Beograda. TV Novi Sad, 1977]- Sedam mađarskih balada [16mm, 30’. Režija: Želimir Žilnik. Scenario: Erne Kiralj. Snimatelj: Arpad Nemet. Montaža: Margita Nemet. Zvuk: Karolj Štanjo. TV Novi Sad, 1978]

- JFJF – Jugoslovenski festival jeftinog filma. Selekcija: Stipan

Milodanović JFJF - Yugoslav Cheap Film Festival. Selection: Stipan Milodanović

- Jebeni kukuruz, Miloš Gojković- Exit Windows, Aleksandar

Vasiljević- Ajoj, Stamena što si srca kamena?!,

Vrtke Lazarević- Prvak sveta u potrevljivanju, Happy

Individuals- Pusti pužu rogove, Aleksandra

Sekulić- Kratak kurs gradske samoodbrane,

Milan Todorović- U ogledalu, Jelena Jelača- Čini mi se da sam se zaljubila,

Stipan Milodanović- Jebo ježa, Mladi Kadrovi- Reklám, Aurel Kiš- Vikend na Moravi, Daniel Kovač- Sneg, Aleksandar Gubaš- Mice love, Siniša Dugonjić- Pacijent II, Jakša Vlahović i

Miroslav Lakobrija

- Filmski front. Selekcija: Filip Markovinović Filmski front. Selection: Filip Markovinović- Dr Protić, terapije preporoda: Amor Mortis [Dr Protić, 2005]- Felna [Zoran Marinković, 2005]- Dr Protić, terapije preporoda: Casual [Dr Protić, 2005]- Thelesma [Janko Nešić, 2005]- Dr Protić, terapije preporoda: Ceterum Censeo [Dr Protić, 2005]- Spavanje i sanjanje [Stanka Gjurić, 2006]- Dr Protić, terapije preporoda: De Reum Natura [Dr Protić, 2005]- Korzinthio [Janko Nešić, 2007]- Dr Protić, terapije preporoda: Novogodišnja poslanica [Dr Protić, 2005]

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- Simin mozak se zimi umastiljavi [Marko Tešović, 2007]- Dr Protić, terapije preporoda: Trendsetter [Dr Protić, 2005]- Komitet 4000 [Siniša Dugonjić. 2008]- Dr Protić, terapije preporoda: Reč umetnicima [Dr Protić. 2005]

- NFC Kino klub Novi Sad. Selekcija: Filip Markovinović IFC Cinema Club Novi Sad. Selection: Filip Markovinović- The Swing Never Stops [Marko Kaćanski. 2004]- Zvezdan, epizoda: Student [FIlip Markovinović. 2003]- Afrika [Gvozden Đurić. 2007]

- Medusa Filmnapok - Dani filma u Subotici. Selekcija: Atila ŠirbikMedusa Filmnapok - Film Days in Subotica. Selection: Attila Sirbik

- Krst sa zvezdom [Karolj Viček / Vicsek Károly.1972]

- Međuigra [Aurel Kiš. 1994]- The Stages of Birth [Ivan Buharov]- Crossed Sild [12’16’’, kolor/stereo.

Ivana Bošnjak, Lea Vidaković. Norveška, 2010]

- Video umetnost Video Art: - Projekti [8x29, 7x20 cm, grafika. Autor: Predrag Šiđanin, 1974]- Bionegare [Foto serijal, video instalacija, video traka, performans. Predrag Šiđanin, 1986]

- Dobro veče [7’, kolor, PAL B/G. Produkcija: Apsolutno. 1996]

- Akademija umetnosti Novi Sad – katedra za nove likovne medije (video

umetnost od 1979). Selekcija: Dragan Živančević Academy of Arts in Novi Sad - Department of New Media (video art since 1979). Selection: Dragan Živančević- Deconstructing the Web [Vladimir Mijatović]- Trampolin [Mario Fijatović]- Oslobodilac / The Liberator [Željko Garić]- Proces [Lucija Šćekić]- Igračka [Maja Bekan]- B/W [Mia Stojanović]- Uterus [Želimir Barić]- Međuvreme [odlomak iz video rada, Igor Antić]- The Rope [Biljana Carić]- The Name of the Game [Dragan Živančević]- Eye Balls [Biljana Jeftić]- Umetnost danas [Bojan Budimac]- Performans Katalin Ladik [odlomak iz video rada, Bogdanka Poznanović]

- Pronađeni snimak Found Footage- Memorabilia – Lost&Found [originalni format: 8mm film, izvedeni format: video / .mpeg. Nataša Vujkov. 2013]

- Noviji igrani film Recent Film- Nyári mozi / Letnji film [67’, c/b, igrani. Režija: Sabolč Tolnai / Szabolcs Tolnai. Scenario: Sabolč Tolnai, Piroška Varga. Muzika: Félix Lajkó. Glume: Félix Lajkó, Rezsõ Losoncz, Miloš Matić. Mađarska, 1999]

- Fövenyóra / Peščanik [110’, igrani film po noveli Danila Kiša. Režija: Sabolč Tolnai / Szabolcs Tolnai. Produkcija: Ivan Đurović, György Durst itd. Glume: Nebojsa Dugalić, Slobodan Custić, Jasna Zalica, David Vojnić, Lars Rudolph, Alisa

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Terek, János Derzsi, Kati Lázár, Mari Nagy, Đurđija Cvetić itd. Srbija / Mađarska, 2007]

- Uspavanka za dečaka [26’, drama po kratkoj priči Aleksandra Tišme. Režija i scenario: Miloš Pušić, Muzika: Boris Kovač. Snimatelj: Jovan Milinov. Montaža: Ivan Knežević. Glume: Aleksandar Đurica, Boris Isaković, Anita Mančić, Igor Martinović, Mišo Obradović, Marko Savić, Milan Smit. Novi Sad, 2007]- Jesen u mojoj ulici [80’, igrani. Scenario i režija: Miloš Pušić. Saradnici na scenariju: Ivan Knežević, Jovan Obradović. Muzika: Jovan Obradović, Vlada Pejković. Producent: Goran Filipaš. Snimatelj: Aleksandar Ramadanović. Montaža: Ivan Knežević. Glume: Filip Đurić, Nikola Spasojević, Milica Trifunović, Nada Dobanović itd. Novi Sad, 2009]- Dobro jutro moja maligna ćelijo [20’, kratkometražni igrani. Režija: Marin Malešević. Scenario: Dragan Stanković. Glume: Miroslav Fabri, Gordana Kamenarović, Vladislav Kaćanski, Nemanja Jovanović, Strahinja Bojović. Producent: Goran Filipaš. Snimatelj: Damjan Radovanović. Montaža: Branislav Klašnja. Kino klub Novi Sad, 2004]- Srce je mudrih u kući žalosti [89’, igrani. Režija: Marin Malešević. Scenario: Marin Malešević, Dragan Stanković. Glume: Milivoje Obradović, Aleksandar Đurica, Ratko Radivojević, Tamás Varga, Ervin Hadžimurtezic, Miroslav Fabri itd. Producenti: Siniša Bokan, Goran Filipaš. Snimatelji: Željo Mandić, Aleksandar Ramadanović. Montaža: Branislav Klašnja. Akademija umetnosti Novi Sad, Kino klub Novi Sad, 2009]

OSTALI IZLOŽENI DOKUMENTARNI MATERIJAL I EKSPONATI:

- Fotografski materijal:- Fotografije iz filma Život je lep [Režija: Boro Drašković. Scenario (po priči Aleksandra Tišme): Boro Drašković, Maja Drašković. Neoplanta film / Union film, 1985]- Fotografija iz filma Sveti Pesak [Režija i scenario: Miroslav Antić. Neoplanta film / Avala film. 1968]- Fotografije iz filma WR Misterije organizma [Režija i scenario: Dušan Makavejev. Neoplanta film / Avala film. 1968]- Fotografija iz filma Trofej [Režija: Karolj Viček. Scenario: Ferenc Deák, Karolj Viček. Neoplanta film, 1981]- Fotografije iz perioda ranog kinoamaterizma iz privatne kolekcije Borivoja Mirosavljevića.- Fotografije iz perioda pionira filma iz arhiva Gradskog muzeja Subotica.- Fotografije iz arhive RT Vojvodina.- Fotografije iz arhive Kulturnog centra Pančevo.

Tehnička oprema:- Bauerov projektor za tonski film, filmski projektor B6, 1939/1940. U kolekciji Gradskog muzeja Subotica.- Stolice iz starog bioskopa Lifka u Subotici.- Stara televizijska tehnika i oprema za snimanje i montažu. Iz kolekcije Radio-televizije Vojvodine.- Stare kamere (super 8) i filmske trake iz kolekcije Artura Hofmana. Antikvarna periodika:- Časopisi: Apolo (Novi Sad), Figaro (Beograd), Film (Ljubljana), Foto amateur

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(Subotica), Narodna tehnika (Beograd), Reflektor (Subotica).

PROGRAM PREZENTACIJA AUTORA, VIDEO/FILMSKIH PROJEKCIJA I DISKUSIJA TOKOM TRAJANJA IZLOŽBE:

Kino sala MSUV, Dunavska 37, Novi Sad

20.02.2013. SVETLO U TAMI. 100 GODINA BIOSKOPA LIFKA U SUBOTICI. Predavanje: Mirko Grlica, istoričar i muzejski savetnik (Gradski muzej Subotica).

22.02.2013. Premijerna projekcija filma: PANFILM POGLEDI SEĆANJA autora Radiše Stanišića iz Pančeva [dokumentarni film, 58’, 2013. Scenario, režija, kamera i montaža: Radiša Stanišić. Grafički dizajn: Pavle Halupa] i predstavljanje projekta PANČEVAČKA FILMOGRAFIJA Radiše Stanišića i Nenada Živkovića.

26.02. 2013. aA Asocijacija APSOLUTNO. Zoran Pantelić – gost predavač. Prezentacija video radova aA i razgovor sa Zoranom Pantelićem, članom asocijacije Apsolutno.

27.02.2013. Akademija umetnosti Novi Sad, Katedra za nove likovne medije: VIDEO UMETNOST. Dragan Živančević – gost predavač. Prezentacija video produkcije Akademije umetnosti Novi Sad i aktivnosti Katedre za nove likovne medije.

28.02.2013. PREDRAG ŠIĐANIN. Predrag Šiđanin – gost predavač. Prezentacija video radova Predraga Šiđanina.

07.03.2013. STARI I NOVI KINO KLUB

NOVI SAD (KKNS). Projekcije filmova KKNS od vremena osnivanja početkom pedesetih godina do danas. Učesnici u razgovoru: Artur Hofman, reditelj, član starog KKNS, direktor TV Mozaik; Petar Latinović, reditelj, snimatelj, scenarist, urednik TV, član KKNS, jedan od osnivača producentske grupe Neoplanta; Filip Markovinović, reditelj, predsednik novog KKNS (2005-2013); Borivoj Mirosavljević, novinar i majstor fotografije, kinoamater, član starog KKNS; Milorad Mika Putnik, kulturni radnik u oblasti neprofesionalnog filma i fotografije, predsednik starog KKNS (tokom sedamdesetih godina); Moderatori: Aleksandar Davić i Gordana Nikolić.

08.03.2013. JAVNE MANIFESTACIJE RADIKALNOG AMATERIZMA: Jugoslovenski festival jeftinog filma / Filmski front / Medusa Filmnapok Dani filma. Projekcije filmova i razgovor. Učesnici u razgovoru: Stipan Miodanović - osnivač udruženja KLJUN i festivala JFJF u Subotici, autor kratkih filmova i spotova, TV i radio emisija, naučnofantastičnih priča i stripa; Atila Širbik (Sirbik Attila) – književnik, umetnički kritičar, autor i organizator festivala Dani filma MEDUSA u Subotici; Filip Markovinović – reditelj, predsednik Kino kluba Novi Sad (2005–2013) i jedan od organizatora festovala Filmski front u Novom Sadu; Moderatorka: Aleksandra Sekulić – teoretičarka kulture, urednica arhiva i projekata u Centru za kulturnu dekontaminaciju u Beogradu, članica Low-Fi Video pokreta, grupe Kosmoplovci i tima Medijska arheologija.

13.03.2013. Gost: KARPO AČIMOVIĆ GODINA, scenarista, reditelj i snimatelj. Razgovor sa autorom i prezentacija filmske

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produkcije. Projekcije filmova: Gratinirani mozak Pupilije Ferkeverk [35mm, kolor, 305m, kratki igrani. Scenario, režija, snimatelj: Karpo Aćimović Godina. Neoplanta film, 1970]; Zdravi ljudi za razonodu [35mm, kolor, 270m, dokumentarni. Scenario, režija, snimatelj: Karpo Aćimović Godina. Muzika: Predrag Vranešević. Neoplanta film, 1971]; Moderacija razgovora: Stevan Vuković, teoretičar i kustos, urednik programa SKC-a Filmforum u Beogradu.

22.03.2013. Gost: ŽELIMIR ŽILNIK, reditelj. Razgovor sa autorom i prezentacija filmske produkcije. Projekcije filmova: Pioniri maleni mi smo vojska prava, svakog dana ničemo k’o zelena trava [18’, 35mm, crno-beli. Scenario i režija: Želimir Žilnik. Snimatelj: Miodrag Jakšić Fanđo. Montaža: Dragan Mitrović. Zvuk: Dragan Stanojević. Produkcija: Neoplanta film, Novi Sad, 1968]. Ustanak u Jasku [18’, 35mm, crno-beli i kolor. Scenario i režija: Želimir Žilnik. Snimatelj: Milivoje Milivojević. Montaža: Kaća Stojanović. Produkcija: Panfilm, Pančevo, 1973]. Inserti iz filmova: Tito po drugi put među Srbima [1994], Marble Ass [1995], Tvrđava Evropa [2000], Kenedi se vraća kući [2003], Evropa preko plota [2005], Kenedi se ženi [2007], Stara škola kapitalizma [2009]. Moderacija razgovora: Aleksandar Davić i Gordana Nikolić.

27.03.2013. Gost: SABOLČ TOLNAI, reditelj. Projekcija filma: Nyári mozi / Letnji film [67’, c/b, igrani film. Režija: Sabolč Tolnai / Szabolcs Tolnai. Scenario: Sabolč Tolnai, Piroška Varga. Snimatelj: Miloš Vlaški. Muzika: Félix Lajkó. Glume: Félix Lajkó,

Rezsõ Losoncz, Miloš Matić. Mađarska, 1998].

28.03.2013. Gost: MILOŠ PUŠIĆ, reditelj. Projekcija filma: Jesen u mojoj ulici [80’, igrani film. Scenario, režija, produkcija: Miloš Pušić. Saradnici na scenariju: Ivan Knežević, Jovan Obradović. Muzika: Jovan Obradović, Vlada Pejković. Producenti: Goran Filipaš, Lena Miljević. Snimatelj: Aleksandar Ramadanović. Montaža: Ivan Knežević. Glume: Filip Đurić, Nikola Spasojević, Milica Trifunović, Nada Dobanović itd. Altertise, Novi Sad, 2009].

29.03.2013. Gost: DRAGAN STANKOVIĆ, scenarista. Projekcija filma: Srce je mudrih u kući žalosti [89’, igrani. Režija: Marin Malešević. Scenario: Marin Malešević, Dragan Stanković. Glume: Milivoje Obradović, Aleksandar Đurica, Ratko Radivojević, Tamás Varga, Ervin Hadžimurtezić, Miroslav Fabri itd. Producenti: Siniša Bokan, Goran Filipaš. Snimatelji: Željko Mandić, Aleksandar Ramadanović. Montaža: Branislav Klašnja. Akademija umetnosti Novi Sad, Kino klub Novi Sad, 2009].

Izdavač / Published byMuzej savremene umetnosti VojvodineMuseum of Contemporary Art Vojvodina21000 Novi Sad, Dunavska [email protected]

Za izdavača / Executive PublisherRadovan Jokić

Urednici / EditorsGordana Nikolić, Aleksandar Davić

Tekstovi / Texts byAleksandar Davić, Gordana Nikolić

Prevod / TranslationNovica Petrović

Lektura / ProofreadingPredrag Rajić, Danijela Nikolić

Dizajn / DesignMirjana Dušić-Lazić

Fotografije / Photographs byAndrea Palašti

Štampa / PrintFutura, Novi Sad

Tiraž / Print run 200

ISBN 978-86-6333-042-9

Fotografija na naslovnoj strani: Gradimir Stojković i Ivan Rakidžić, Kino klub Pančevo, iz filmskog arhiva Kulturnog centra Pančevo / Cover photo: Gradimir Stojković and Ivan Rakidžić, Cinema Club Pančevo, from film archives Cultural Center Pančevo

Zahvalnost / Thanks toKarpo Ačimović Godina, Mile Boca, Aleksandar Erdeljanović, Mirko Grlica, Artur Hofman, Siniša Ilić, Filip Markovinović, Stipan Milodanović, Borivoj Mirosavljević, Irina Nemet (Nemeth) Tucakov, Andrea Palašti, Mika Putnik, Aleksandra Sekulić, Radiša Stanišić, Atila Širbik (Sirbik Attila), Sabolč Tolnai (Tolnai Szabolc), Milivoje Unuković, Želimir Žilnik, Dragan Živančević, Akademija umetnosti Novi Sad (Novi likovni mediji), Jugoslovenska kinoteka, Kino klub Novi Sad, Kulturni centar Pančevo, Radio-televizija Vojvodine.

CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад 791(497.113)(083.824) НИКОЛИЋ, Гордана Tehnologija narodu! Film i video u Vojvodini : Muzej savremene umetnosti Vojvodine = Technology to the People! Film and Video in Vojvodina : Museum of Contemporary Art Vojvodina, Novi Sad, 19. 02-14. 04. 2013 / Gordana Nikolić, Aleksandar Davić. - Novi Sad : Muzej savremene umetnosti Vojvodine, 2017 (Novi Sad : Futura). - 119 str. : ilustr. ; 23 cm Tiraž 200. - Bibliografija. ISBN 978-86-6333-042-9 1. Давић, Александар [аутор] a) Кинематографија - Војводина - Изложбени каталози COBISS.SR-ID 314520327

TEHNOLOGIJA NARODU! FILM I VIDEO U VOJVODINI TECHNOLOGY TO THE PEOPLE! FILM AND VIDEO IN VOJVODINA

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