Predstavljamo Animafest - svetovni festival animiranega filma v Zagrebu /
Presenting Animafest - World Festival of Animated Films Zagreb
(petek 17.12. ob 18.10)

Program - izbor filmov iz države, ki je se nekoč imenovala Jugoslavija, nagrajenih na Animafestu je sestavila Margit Antauer Buba, direktorica Animafesta - Svetovnega festivala animiranega filma v Zagrebu:

The following programme, which is a showcase of Animafest awarded films by authors from a country which was once called Yugoslavia, was compiled by Margit Antauer Buba, managing director of Animafest - World Festival of Animated Films Zagreb:

Dnevnik (Diary)

Animatorjevo doživljanje resničnosti. Poskus pri 24-ih sličicah na sekundo animirati svojo nerazložljivo notranjost.

An animator's experience of reality. An attempt to animate at 24 frames per second the inexplicable inner self.

Putnik drugog razreda (Second Class Passenger)

Potovanje potnika drugega razreda z vlakom od začetne do končne postaje. Čeprav naleti na veliko različnih ljudi in nenavadnih usod, ne najde prijatelja.

The journey of a second class train passenger between the first and the last train station. Although he encounters many different persons and many strange fates, he does not find a friend.

Perpetuo

Zahvaljujoč Človeku ljudje nikoli ne bodo izgubljeni, niti v najtežjih trenutkih. Človek ne ponuja univerzalne rešitve, ampak omogoča ponavljanje vsega in nadaljni obstoj človeštva.

Thanks to the Man people will never be at a loss, not even in the most difficult situations. The Man doesn't offer an universal solution, but he makes it possible for everything to be repeated and for the mankind to go on existing.

Satiemania

Favna večmiljonskih mest, džungla supermarketov, norišnica bordelov in gostiln, učinek žarometov v megli, sunkovite vode, zibanje pšeničnih snopov in mož visečih z vislic … Vse to gledano skozi oči animatorja v harmoniji in v navzkrižju s satirično, posmehovalno, a včasih tudi skrajno lirično klavirsko glasbo Erica Satiea.

Fauna of the megalopolis, the jungle of the supermarket, the bedlam of bordels and bars, the effects of headlights in the fog, the flawing waters, the swaying of wheat sheaves and of men hanging from the gallows …all these seen through an animator's eye in harmony and in conflict to the satirical, mocking, but sometimes also extremely lyrical piano music by Eric Satie.

Sportski život (Sporting Life)

Aktivno življenje, ki ga je živela teta Agnes je bilo nevzdržno za njenega mačka. Zato se nekega dne muc odpravi po pomoč k profesorju Baltazarju. Da bi našel hitro rešitev problema gre profesor k teti, ki pa je trdna v svojih stališčih in stvari se ne iztečejo po pričakovanjih. Na koncu profesor Baltazar prevzame vlogo mačka.

The active life aunt Agnes led was unbearable for her cat. One day the cat decided to visit Professor Balthasar and to ask for help. Balthasar goes to see aunt Agnes with the intention to find a quick solution to the problem. But Agnes is a quite unshakeable in her beliefs and things turn out quite differently. In the end Professor Balthasar takes over the role of the cat.

Škola hodanja (Learning to Walk)

Zgodba Svojislava, ki je hodil tako, kot ga je naučila njegova mama. Prijatelji pa so ga nenehno poskušali naučiti hoditi tako, kot so hodili oni. Vsak od njih v prepričanju, da je njegov način pravi.

The story of Svojislav who walked the way his mother taught him, but whose friends constantly tried to teach him to walk the way they did, each of them convinced that his way of walking was the correct one.

Posljednji sunčev zrak

Film je del serije, ki se ukvarja z ekološkimi problemi in prikazuje poskuse modernega človeka, da bi našel oazo miru, svetlobe in zraka v urbanem okolju.

The film is part of a series dealing with ecological problems, shoving the attempts of modern man to find an oasis of peace, light, and air in the midst of the urban surrounding.

Riblje oko (Fisheye)

V mali ribiški vasici se življenje ni spremenilo že več generacij. Vse kar imajo, vse s čimer se identificirajo, dobijo iz morja. Neke noči pa se potek dogodkov spremeni ... Jutro prinese dvome: je bila vse fikcija ali morda svarilna metafora.

In a small fishing village people's life has not changed for generations. All they have, all they identify with, they get from the sea. But one night the sequence of events is disturbed … the morning brings doubts: was it all fiction or may be a warning metaphor.

Put k susjedu (Way to Your Neighbour)

Animatorjev sarkastičen odgovor na svetovno politično situacijo.

The animator's sarcastic replay to the world's political situation.

Poljubi mehka me radirka (Kiss Me Gentle Rubber)

Nova kombinacija figurativne risbe, postavljene v klasičen likovni prostor in nadrealističnih vsebin, ki nastanejo s pomočjo metafor in asociacij. Klasične junake animiranih filmov zamenjajo različni gibi konstruiranih in oživljenih figur. Razna bitja, mešanice strojev, rastlin in predmetov, tekmujejo v teku in na koncu nastopijo v glasbeno artistični točki.

A new combination of figurative drawing, placed in a classical artistic frame and surrealistic contents that are formed with metaphors and associations. Classical heroes of animated films are replaced with different motions of constructed and revived figures. Different beings, partly machines, partly plants and partly objects, that have a running competition. In the end they all perform in a musical act.

Kuća broj 42 (House No. 42)

Stara fotografija kaže del trga. Kamera se približa eni izmed hiš in ulica pred njo oživi …

An old photograph shows part of a square. The camera closes in one of the houses and the street in front of it "comes to life"…

Babilonska kula (Tower of Babel)

Animirana prispodoba polna šal o človeku, ki pada, a ne more pasti. Med padanjem ga spremlja serija kratkih spominov iz njegovega življenja.

An animated parable full of gags about a man who is falling but cannot fall down. While falling, he is accompanied by a series of short reminiscences from his life.

Leptiri (Butterflies)

Osamljena deklica ob obali se ne more odločiti, katero pot bi izbrala. Ne more se premakniti od ogledala in svojega odseva v njem ...

A lonely girl at the sea shore cannot make up her mind which way to choose. She cannot pull herself away from the mirror and her reflection inside ...

Slike iz sjećanja (Pictures from Memory)

Zgodba avtorjevega življenja v nemirnem času med leti 1940 in 1960. Kot v sanjah se avtor spominja slik iz svojega zgodnjega otroštva do študentskih let.

The story of the author's life during the stirring times between 1940 and 1960. Like in a dream the filmmaker remembers pictures from his early childhood until the student days.

Festival - kjer se naše sanje srečajo

Vsakič, ko sem moral kot umetniški direktor Festivala - in to je bilo v burnih in riskantnih devetdesetih letih - Svetu festivala poročati o načrtih in programih festivala ter o tem, kaj smo naredili, sem si zastavljal preprosto vprašanje: zakaj festival sploh obstaja? Sčasoma me ob tem vprašanju ni bilo več sram, temveč sem poskušal nanj odgovoriti artikulirano in argumentirano, ter na ta način odkrito poročati o festivalu, namesto da bi podal samo formalno poročilo.

Festival je nastal na krilih fame o Zagrebški šoli animacije in je imel tudi kulturološke in politične implikacije, toda mene je zanimalo, kaj mu daje smisel in stalnost tudi v času nestanovitnosti.

Ta kratka analiza "namena festivala" bo koristna tudi vsem, ki želijo organizirati nekaj podobnega z ambicijo mobilizacije duhovnega potenciala. Zlasti je pomembna kot primerjalna motivacija za organizatorje številnih drugih festivalov animacije. Nenazadnje smo kot drugi najstarejši festival animacije na svetu dolžni tudi izobraževati svoje številne privržence.

Ta pregled vam podajam kot "šest razlogov za obstoj festivala". Seveda bi me veselile polemične reakcije in takšne, ki v festivalu vidijo tudi kaj drugega. Prepričan pa sem, da bomo lahko s pomočjo teh šestih točk ocenili profil, cilje in potencial našega zagrebškega festivala, kot tudi katerega koli drugega.

1. Ocena vrednosti produkcije v določenem obdobju

Ta del festivala običajno imenujemo "konkurenca". Na podlagi ocene, da se letno na svetu posname premajhno število avtorskih filmov, da bi bila mogoča resna konkurenca, se je naš festival odločil za sistem bienala. Toda danes zaradi vse hitrejše produkcije ta dvoletni ritem postaja zastarel.

Treba si je odgovoriti na naslednje vprašanje: "Kaj ocenjujemo?". S selekcijami, žirijo in nagradami poskušamo izpostaviti nove kreativne trende in spodbujati umetnike k vztrajanju pri svojih intelektualnih refleksijah o tem našem svetu skozi animacijo. To je zlasti pomembno v luči vpliva, ki ga ima artistična filmska produkcija na "trivialno" animacijo. Standardi kakovosti trivialne produkcije so vedno višji in proces transformacije avantgardnega v klasično ter klasičnega v komercialno je vedno krajši. Mislim, da je naš festival z načelno, pošteno in strokovno organizacijo tekmovanja na najbolj pozitiven način vplival na odnos med umetnostjo in tržiščem.

2. Posebni programi

Festival je idealna priložnost, da se opozori na nove trende, pojave, avtorje in počasti nekatere obletnice in dogodke iz sveta in zgodovine animacije. Z izborom in usklajevanjem teh programov festival prevzame tudi izobraževalno vlogo, opozarjajoč na pomembne dogodke v animaciji, ki ne spadajo v tekmovalni program. Poleg projekcij in retrospektiv se ta "razlog" za obstoj festivala realizira tudi v obliki predavanj, razstav in okroglih miz.

3. Promocijski učinki festivala

Festival sam po sebi predstavlja izvrstno in nenadomestljivo reklamo kulturi države, ki ga organizira. Ne kot reklama za to, kako smo "pametni in bogati", temveč kot ponudba idealne infrastrukture za kaleidoskop prežemanja in srečevanja kultur. Festival je urbana manifestacija z izjemno kompleksnimi in zapletenimi vsebinskimi in organizacijskimi niansami. Obstoj festival predstavlja idealno priložnost za izmenjavanje in vzpostavljanje razumevanja v svetu, kjer meja med komunikacijo in manipulacijo ni jasno določena. Ta festival torej za kulturo in družbo, kot je hrvaška, predstavlja idealen medij komunikacije s svetom.

4. Vplivi na hrvaško animacijo in medije

Festival predstavlja neprecenljivo priložnost, da se naši avtorji seznanijo in primerjajo s kolegi iz vsega sveta. Na prvem festivalu leta 1972 so bili naši filmi prikazani izven konkurence. Verjetno so moji starejši kolegi ocenili, da smo bili premočni za takratno konkurenco. Ali pa je bila to oholost? Ali skromnost? V naslednjih letih je naš kreativni prispevek celotni artistični animaciji dramatično upadel, da o komercialni animaciji niti ne govorimo. Za to obstajajo številni zgodovinski, civilizacijski in kulturološki razlogi, o katerih pa ne bi razpredal, ker to ni vesela tema. Brez dvoma živimo v času, ko so - tudi zaradi vojne - tri cele generacije izgubile kontinuiteto z "zlato" generacijo zagrebške šole. Vse v zgodovini ima svoje amplitude, obdobja vzpona in stagnacije, toda preprosto ne morem verjeti, da se je izgubila imaginativna substanca, ki je v Zagrebu ustvarjala filme - kaj bi jih našteval, saj jih znamo vse na pamet! Trdno sem prepričan, da nova, ranjena in krhka generacija, ki ji nista prizanesla ne revščina ne globalizacija, potrebuje spodbudo in informacije. V tem pogledu je festival nenadomestljiv.

5. Festival kot družabni dogodek

Lepo je imeti takšen festival v našem mestu. Nekako sodita skupaj. Ta vzajemna ljubezen in interes obstajata od prvega dne dalje. Redko kateri festival ima takšno urbano kombinacijo popularnega zanimanja in obiska ter elitistične vsebine. Interes zanj je izjemen. To je v glavnem posledica zagrebške izobražene in intelektualne substance in četudi je morda del skrivnostno velikega zanimanja posledica postavljaštva in mode - nič zato. Številni ljudje, ki so se kasneje uveljavili na različnih področjih, so na neki točki delali za festival kot mladi prostovoljci.

Poleg vseh "strokovnih" razlogov za ta festival se hočem osredotočiti tudi na "festivalske" razloge. Sama beseda festival pomeni slavje, svečanost, radost sodelovanja. Zato festival ni pomemben samo na projekcijah, temveč tudi za šanki, na piknikih, sprejemih in v hotelskih sobah. Si je sploh mogoče zamisliti lepši spomin kot na primer takšnega: "Spoznal sem jo na festivalu, tisto leto, ko je bila Satiemania. Bila je ljubezen, ki jo je težko ponoviti, ne samo zato, ker sva bila tako mlada …"

6. Poslovni vidik festivala

Festival bi moral biti priložnost za srečanje poslovnih ljudi, producentov, distributerjev in umetnikov, ki ponujajo in kupujejo tehnologijo in projekte. V tem pogledu je šel najdlje Annecy. Tako zelo, da mu niti sam festival ne more slediti.

Zaradi ideoloških razlogov, ki pri poslovnih vprašanjih vedno generirajo svojevrstno balkansko lenobo, je ideja Animarketa v Zagrebu ostala le na papirju. Na plakatu za festival leta 1984 je beseda "animarket" napisana enako veliko kot beseda "festival". Žal so bile to samo lepe ideje, realizacijo pa smo prepustili drugim. Škoda.

Na splošno je naš festival pokazal izredno ignoranco pri spremljanju trivialne in komercialne animacije, ki je jedro tega medija. Ta šesti razlog za obstoj našega festivala se mi zdi tudi najbolj problematičen. Isto težavo ima sicer naša cela država, kar me seveda ne tolaži.

To je torej mojih šest razlogov za obstoj festivala. Racionalna analiza namesto evforične samohvale. Morda je največja vrednost našega festivala ravno v naših izkušnjah in modrosti, da si zastavimo ta vprašanja in smo pripravljeni slišati tudi odgovore.

Joško Marišić
Predsednik Sveta festivala Animafest

Ponatisnjeno in prirejeno z dovoljenjem iz spominskega priročnika Animafesta Z znači Zagreb - Priručnik za sjećanje 1972-2002

Festival - Where Our Dreams Meet

During the turbulent and risky nineties, while I was the Festival's artistic director, I had to report to the Festival Council about plans and programmes before and after the festival. Each time I would ask myself a very simple question: why do we even have the festival? As time went by I became less embarrassed about this question and instead I tried to articulate a rational answer to the question, aware of the fact that this honesty represented the true report instead of just a formal evaluation.

The festival was propelled by the fame of the Zagreb School of Animation and also had undeniable cultural and political implications, but I wanted to know what made it meaningful and constant even in these stormy times.

This short analysis of "the Festival's purpose" should also be useful to anyone wanting to organise anything similar with the intention of mobilising spiritual potential. It should be especially valuable as comparative motivation for organisers of many other animation festivals. Last but not least, as the second oldest animation festival in the world, it is our obligation to also educate our numerous followers.

This account is given to you as "Six Reasons for the Existence of the Festival". I welcome polemical reactions and even those that might see "something else" in the festival. I am certain that these six points will allow us to evaluate the profile, goals and possibilities of our Zagreb Festival, as well as any other.

1. Evaluation of the production in a given time period

This section of the festival is called "the competition". Our festival opted for the biannual concept based on the estimate that the number of good artistic films produced each year is not sufficient for a serious annual competition. However, in these turbulent times of acceleration this biannual rhythm of evaluation is becoming anachronistic.

It is important to answer the following question: "What is it that we judge and evaluate?". The selections, the jury and the awards aim to draw attention to new creative trends and to encourage the artists to persist in their effort of intellectual reflection on the world through animation. This is especially important with regards to the influence of the artistic film production on "trivial" animation. The quality standards of the trivial production are getting higher each day and the process of transforming the avant-garde into the classical and of the classical into the commercial is becoming increasingly shorter. I believe that through the principled, honest and expert organisation of the competition, our Festival contributes to the interaction between art and market in the most positive way.

2. Special programmes

The festival is an ideal opportunity to draw attention to new trends, phenomena and authors and to honour special anniversaries and events from the world and history of animation. Through the selection and co-ordination of these programmes, the festival also takes on an educational role, reminding the audience of the milestones in animation that lay outside the competition programme of recent productions. This second reason for the existence of the festival is accomplished through various lectures, exhibitions and panel discussions as well as through film screenings and retrospectives.

3. The Festival's promotional effects

The Festival in itself represents excellent and valuable publicity for the culture of the country that organises it. Not by showing off how smart and rich we are, but by offering the ideal infrastructure for a kaledioscope of permeations and meetings of cultures. The festival is a highly urban manifestation with very complex and complicated content and organizational nuances. Its existence is an ideal occasion for the exchange and establishment of understanding in a world where the line between communication and manipulation is not always clearly discernable. This festival is, therefore, an ideal vehicle for a culture and society such as Croatia's to communicate with the world.

4. Influences on Croatian animation and media

The festival is a singular opportunity for our authors to get informed and to level with their colleagues from all over the world. At the first festival's edition in 1972 our entries were shown out of competition. My senior colleagues must have thought that we were too strong for the competition programme at the time. Maybe they were being conceited? Or maybe modest? The following years brought a dramatic fall of our creative contribution to artistic, not to mention commercial animation. There is a myriad of historical, civilisational and cultural reasons for this but I don't want to dwell on them since it is not a joyful topic. We live in a time in which three whole generations have failed to connect with the "golden" generation of the Zagreb School. Everything in history has its amplitudes, periods of prosperity and stagnation, but I simply refuse to believe that the fluidity and the imaginative substance with which films were created in Zagreb have disappeared. There is no need to mention any names - we all know them by heart. I strongly believe that the new, wounded and fragile generation, destroyed by poverty and globalisation, needs encouragement and information. In this respect the Festival is invaluable.

5. The Festival as a social event

It is wonderful to have this kind of festival in our city. They suit each other very well. This mutual love and interest have existed from the very first day. It is rare for a festival to have such urban harmony between its popular interest and attendance, and its elitist content, as the Animation Festival in Zagreb. It attracts an exceptional interest. This is mainly a consequence of Zagreb's educated and intellectual core. And even if the secret of such interest is partly due to the trendy and fashionable, we don't mind. Many people who later established themselves in various fields, have at some point worked for the festival as young enthusiasts.

Besides focusing on all the "official" reasons for the existence of the festival, I want to focus also on the "festive". The word "festival" itself means celebration, festivities, the joy of participation. This is why the festival is important not only at the screenings but also at the bars, picnics, receptions, and in the hotel rooms. Can you even imagine a more beautiful memory than this: "I met her at the festival. It was the year of Satiemania. It was love that is hard to recreate. And not just because we were so young …".

6. Business

The festival should be a meeting place for business people, producers, distributors, and artists, all offering and buying technology and various projects. In this respect, Annecy went the furthest. In fact, it went so far that its own festival couldn't keep up the pace.

Due to ideological reasons that generate a specific Balkan laziness when it comes to the question of business, the idea of "animarket" remained just an idea in Zagreb. On the poster for the 1984 Festival, the word "Animarket" is as large as the word "Festival". Unfortunately it remained only a nice idea, while we left the realisation to others. Pity.

Our festival has generaly exhibited ignorance in following trivial and commercial animation, which is the core of this media. This sixth reason for the existence of our festival is the most unconvincing to me. The same problem can be attributed to the country at large, which is of course of no consolation.

So these are my six reasons for the existence of this festival. Instead of a celebratory euphoria I offer a rational analysis. Perhaps the greatest value of our festival is in our experience and wisdom to ask such questions and in our openness to hear the answers.

Joško Marišić
President of Animafest Festival Council

Reprinted with permission from the Animafest history companion Z… is for Zagreb history companion 1972-2002