SLOVENSKI KLASIČNI ANIMIRANI FILM /
CLASSICAL SLOVENE ANIMATED FILM
(sobota 18.12. ob 14.10)

S slovensko retrospektivo bomo raziskali začetke slovenskega animiranega filma, ki temeljijo na lutkovni animaciji. Med risanimi filmi bodo prikazana klasična dela slovenskega animiranega filma. Retrospektiva je nastala v sodelovanju s Slovenskim filmskim arhivom. Filmi so primerni za otroke od šestega leta dalje.

The Slovene Retrospective, put up in cooperation with the Slovene Film Archive, will take a look at the beginnings of the Slovene animated film, which is based on puppet animation. Films are suitable for children over six.

Pod vtisom velike količine prebranih kriminalističnih in fantazijskih romanov se deček začne identificirati z glavnimi junaki. Igre se kmalu naveliča in romani končajo v košu za smeti.

Having read a lot of crime stories and fantasy novels, a boy starts to identify himself with the fiction heroes. He gets tired of the game soon, with the books ending in the dustbin.

Poštar mora predati pismo, naslovljeno na "najboljšega dečka". Od vrat do vrat išče naslovnika, vendar se izkaže, da so otroci povsod poredni. Tako na pismo udari pečat "nepoznan" in ga vrne naslovniku.

The postman has to deliver a letter addressed to the "best boy". He is looking for this child from one doorstep to another, but finds out that children are naughty everywhere. So he stamps the letter with "addressee unknown" and returns it to the sender.

Jurček straži ujete Nemce, ki mu uidejo. V boju proti njim sodeluje s partizani in Nemcem uniči tanke.

Jurček is keeping watch over the Nazi soldiers, who escape. Together with the partisans, he then manages to destroy their tanks.

Maček opreza za vrabcem, ki prileti na sneženega moža. Vendar mu vrabec uide, zleti na streho in sproži plaz, ki mačka zasuje.

The cat goes after a sparrow that has come to rest on a snowman. The sparrow escapes, flies up the roof and sends snowslip falling over the cat.

Zgodba o mačku in poročenem mišjem paru.

A story about a cat and one married mice couple.

Surovi sili se mora podrediti tudi logika: ena in ena je tri.

Logic must yield to the brute force: one plus one is three.

Animirani film z igranimi vložki, v katerem skozi nemirno igro nespretno napisanega A, ki je pobegnil iz šolskega zvezka deklice govori o lepoti, dobroti, upanju, ljubezni, harmoniji, ki ne bi smeli obstajati le v pravljicah in otroški domišljiji, temveč tudi v realnem življenju.

An animated film with live-action inserts talks about beauty, kindness, hope, love and harmony in a story of a clumsily written letter a that escapes from a notebook of a school girl.

Zadnji dan v letu fant in dekle porabita za ogled izložbe, nakup daril in novoletnih čestitk. Sredi veselja vidita osamljeno babico in žalostnega kužka... Ko v domišljiji podelita darove vsem otrokom sveta, se spomnita tudi osamljenih prijateljev iz stolpnice.

A boy and a girl go to buy presents and greeting cards on the New Year's Eve. While the joy is all around, they notice a lonely old lady and a sad dog... As they imagine offering presents to all the children of the world, they also think of their lonely friends.

SLOVENSKI KLASIČNI ANIMIRANI FILM

Osnovni gradbeni element klasičnega animiranega filma je filmska sličica. Dejansko z nizanjem sličice za sličico gradimo film. Ekstremni razpon v animaciji vodi od posamezne statične slike do kinematografsko artikulirane celote filma. Zato so klasični animirani filmi po svoji notranji tektoniki najbolj integralna, kompaktna in homogena filmska dela. Animirani film klasičnega tipa je pravzaprav unikatno ročno delo. Zato lahko takšno animacijo vrednotimo kot neposredni jezik, pisavo, rokopis oz. umetniško delo. Filmska animacija dimenzionira tudi čas. Faze med dvema ekstremoma niso mehanične, ampak so določeni ritmi. Zato lahko animacija prodira do metafizičnih delov vizualne glasbe. Doziranje elementov animiranega filma je zelo kontrolirano, zato je po svoji osnovni naravi animirani film zelo minimalističen. Popolna kontrola dopušča smiselno artikulacijo, ki jo prekrivanje in kopičenje posameznih izraznih elementov le zamegljuje. Znotraj različnih zvrsti klasičnega animiranega filma ima lutkovni film svoje posebno mesto, to pa zato, ker se poleg vseh značilnosti animiranega filma najbolj oplaja še z izraznimi možnostmi igranega filma. Bistveni kreativni element v lutkovnem filmu zato postane tudi kamera, ki je pravzaprav kot najbolj filmski element v risanem in kolaž filmu zapostavljena. Podobno to velja tudi za svetlobo in prostor. K temu se posledično navezuje tudi filmska režija in montaža lutkovnega animiranega filma.

V predvojnem obdobju Slovenci še nismo imeli organizirane filmske proizvodnje. Posamezniki so sicer v tem obdobju dovolj uspešno postavljali temelje tudi tej novi obliki domače kulture. Na področju animiranega filma se v tem obdobju pojavijo le posamezni poizkusi animiranih filmskih napisov Emona filma in otroška raziskovanja gibljivih slik direktno risanih na filmski trak (Ivan Marinček). Z razmahom organizirane filmske produkcije po letu 1945 so bili dani tudi osnovni pogoji za rojstvo animiranega filma tudi pri nas. Kot prva se je pojavila prav najzahtevnejša oblika animiranega filma - lutkovni film. V skladu s takratnimi vizijami razvoja je odšel Saša Dobrila (tudi avtor prvega slovenskega stripa) proučevat animirani film na Češkoslovaško k svetovnemu mojstru klasične filmske lutkovne animacije Jiřiju Trnki. Ko se je vrnil, je leta 1951. naredil naš prvi animirani film Sedem na en mah. Odziv je bil pozitiven. Razvoj lutkovnega filma v takratnih programih Triglav filma postane celo prioriteten. Zato je bil razvoj domačega lutkovnega filma takrat izrazito dinamičen. Že naslednji film Saše Dobrile Vitez in koš (1952) je povsem drugačen od prvega. Postavljen je v realno okolje in dramaturško povezan z igro živega igralca. Lutke je oblikovala Ajša Pengov. Ekipi se je pridružil tudi Mile de Gleria kot snemalec, ki pa že v naslednjih letih postane tudi sam avtor dveh odličnih lutkovnih filmov(Usodni strel in Banka).

Po ustanovitvi lutkovnega oddelka pri Triglav filmu se je proizvodnja tovrstnih filmov povečala. Filmska prizadevanja so popestrili številni novi sodelavci. Scenaristi: Žarko Petan, Tone Pavček, Janez Menart (ki je tudi vodil omenjeni oddelek), Sašo Mali, Smiljan Rozman, Marta Koch, Vida Brest. Oblikovalci lutk in scene: Mara Kralj, Andra Avčin, Slavko Hočevar, Niko Matul, Mirko Lipužič, Marjan Amalietti. Režiserji: Zvone Sintič, Črt Škodlar, Dušan Hrovatin, Dušan Povh. Snemalci: Ivan Marinček, Veka Kokalj, Silvo Hodnik, Marjan Pfeifer. Zanimivo je, da je bila ekipa animatorjev lutk pravzaprav najmanjša in najbolj stalna (Črt Škodlar, Dušan in Breda Hrovatin). Vsekakor moramo med animatorji izpostaviti predvsem delo Dušana Hrovatina, ki ga kot animatorja srečujemo pri vseh lutkovnih animiranih filmih, razen pri filmih Saše Dobrile, ki je animiral sam. Poudariti je treba mojstrstvo Dušana Hrovatina, ki je v posameznem filmu pogosto animiral vse nastopajoče lutke. Tako je v domačem animiranem filmu ustvaril opus, ki je redek celo v svetovni filmski produkciji. Veliko število sposobnih in priznanih sodelavcev iz različnih področij je omogočalo kakovostno rast ter pestro likovno raznovrstnost. Film Čigavo je pismo (1958) je po scenariju Toneta Pavčka režiral Črt Škodlar, ki je film ob sodelovanju Dušana Hrovatina tudi animiral. Poleg rednega, bolj klasičnega programa je bilo v takratni produkciji dovolj prostora tudi za filmski eksperiment, ki ga je takrat zelo uspešno udejanjal predvsem Škodlar. Tudi scenarij za film Poroka (1962) je napisal pesnik, tokrat Janez Menart, ki je film tudi režiral. Izvrstno pa je animiral vse nastopajoče lutke Dušan Hrovatin. Animirani filmi pogosto težijo k seriji. Lutkovni filmi v osnovi še bolj. Izdelava lutk je ne samo zahtevno likovno, ampak še bolj tehnično delo. Vendar se je v slovenski filmski lutkovni produkciji pojavil le en sam poizkus serijskega filma. Pa tudi zgodbe o prebrisanem Jurčku so bile realizirane le v treh različicah (Prebrisani Jurček, Jurček stražar 1961, Jurček v ječi). Filme je režiral Zvone Sintič, animiral jih je Dušan Hrovatin, likovna zasnova pa je delo Marijana Amaliettija. Kljub zelo hitremu vzponu, dobri začetni organiziranosti, pestrosti avtorjev in zavidljivim uspehom pa je bil oddelek za lutkovni film ukinjen, kmalu nato je propadel tudi Triglav film.

Risani animirani film pa je bil že v svojem začetku slabo organiziran, lotevalo se ga je le malo avtorjev. Avtorsko pomoč smo iskali celo v tujini. Redna proizvodnja praktično nikoli ni stekla. Miki Muster, avtor že takrat zelo popularnih slikanic in stripov, je povsem naravno nadaljeval svoje delo tudi na področju risanega filma. Toda povsem neurejena produkcija mu je omogočila zgolj tri filme. Zimska zgodba (1962) je njegov zadnji film, ki je nastal v redni filmski produkciji pri nas. Film je narisal po ideji in zgodbi Smiljana Rozmana. Tudi povezave s tujimi producenti in avtorji znamenite šole zagrebškega filma (1+1=3, 1967) kot sta Zdenko Gašparović in Branko Ranitović, niso uspeli stabilizirati redne proizvodnje risanih animiranih filmov. Avtorska produkcija animiranega filma se je začela uspešneje razvijati na področju amaterskega in celo otroškega filma Glavni mentor te ustvarjalnosti je bil takrat Tone Rački. Iz teh vrst je izšel tudi Koni Steinbacher. Film "A" (1981) je njegovo zrelo in zahtevno delo, inspirirano po radijski igri Franceta Puntarja. Risanemu filmu je ostal zvest vse do danes in ustvaril je pomemben avtorski opus. Z avtorskim opusom s lahko pohvalijo še nekateri avtorji: Bojan Jurc (Jutri bo novo leto 1982), Marjan Manček, Zvonko Čoh, Milan Erič in Mitja Manček.

Nove tehnologije so sicer razširile pojavnost animiranega filma, vendar je klasični animirani film vendarle bližji izvirni likovnosti. V slovenskih razmerah klasičnega animiranega filma skorajda ni več. Zvesta mu ostajata zgolj Marjan in Mitja Manček. Tudi širše družbeno okolje je animiranemu filmu vse manj naklonjeno. Nekaj optimizma vnaša le Festival slovenske animacije in dejavnosti Animateke.

Borko Radešček

CLASSICAL SLOVENE ANIMATED FILM

The basic element of a classical animated film is a frame. The film is created frame by frame. Animation runs from a single statical frame to a fully articulated cinematographic work. In this way the structure of a classical animated film represents the most integral, compact and homogeneous piece of cinematography. An animated film of a classical type is actually a unique, handmade product, which could classify as direct communication, handwriting, manuscript or a work of art. Film animation also places time in a dimension. The phases between two extremes are not mechanic, but part of a rhythm. Therefore the animation can make its way to the metaphysical spheres of visual music. Elements are dosed in an animated film in a strict manner, which makes this art extremely minimalistic in its nature. The total control secures rational articulation, which would be blurred should other elements of expression be piled up. Within different genres of animated film, the puppet film holds a special place. The reason is that this genre combines features of the animated film with the expression potential of the live-action film. A camera - the film instrument par excellence, which is neglected in the animated film - reappears as the basic creative element of the puppet animation film. The same goes for the light and the space, and consequently the direction and the editing of the puppet animation film.

Slovenes did not have an organised film production in the pre-WWII period, although some individuals did succeed in building the foundations of the Slovene cinematography. There were though only a few attempts in the genre of animated film, namely the animated film inscriptions by the producer Emona film and the early age exploring of the moving images directly on the film roll (Ivan Marinček). When the organised film production began to emerge after 1945, basic conditions were met for creating Slovene animated films. The first animation genre to appear was, interestingly enough, the most demanding one, that is the puppet animation. In line with the then vision for the development of the animated film, Saša Dobrila, the author of the first Slovene comic book went to study animation to Czechoslovakia , to become a student of the world renowned master of classical film puppet animation Jiři Trnka. Upon returning home, Dobrila made the first Slovene animated film in 1951, entitled Sedem na en mah. The response was positive; the genre of the puppet animation became a priority for the national production house Triglav film, which enabled its dynamic development. The next film Dobrila made in 1952 was totally different. Entitled Vitez in koš, it was set in a real-life scene and included real characters. The puppets were created by Ajša Pengov, while the film crew included cameraman Mile de Gleria, who later became the maker of two excellent puppet films, Usodni strel and Banka.

After the production house Triglav film set up its own puppet section, the genre production increased further and attracted a number of new artists; screenplay writers Žarko Petan, Tone Pavček, Janez Menart (also head of the puppet section), Sašo Mali, Smiljan Rozman, Marta Koch, Vida Brest; puppet and set designers Mara Kralj, Andra Avčin, Slavko Hočevar, Niko Matul, Mirko Lipužič, Marjan Amalietti; directors Zvone Sintič, Črt Škodlar, Dušan Hrovatin, Dušan Povh; cameramen Ivan Marinček, Veka Kokalj, Silvo Hodnik, Marjan Pfeifer. The interesting thing was that the team of puppeteers was the youngest and working most regularly (Črt Škodlar, Dušan and Breda Hrovatin). Among the puppeteers, special mention should be made of Dušan Hrovatin, whose name appeared in all the productions, with the exception of Dobrila's films, who was a puppeteer himself. It was not rarely that Dušan Hrovatin would animate all the puppets in a film. The volume of his work could hardly be matched even on the international level. A number of other talented artists made up for a quality and versatile domestic production, such as the 1958 film Čigavo je pismo, with the screenplay written by Tone Pavček and the direction by Črt Škodlar, who together with Dušan Hrovatin also animated the puppets.

In addition to the regular, more classical programme, the then production was also responsive to film experiment, personified at the time by Škodlar. In the 1962 production entitled Poroka, the screenplay was written by another poet, Janez Menart, who also directed the film, while all the puppets were once again superbly animated by Dušan Hrovatin. Animated films often tend to have sequels, and this is particularly true for the puppet animation; the puppet design is not only a demanding artistic work, but even more so a technical one. Interestingly enough, a single case of puppet animation series has been recorded in the domestic production. And even this series about a smart boy named Jurček only saw three editions (Prebrisani Jurček, Jurček stražar 1961, Jurček v ječi). The films were directed by Zvone Sintič, Dušan Hrovatin was the puppeteer,while Marijan Amalietti was in charge of design. But despite fast development, good initial organisation, talented and versatile filmmakers and enviable success, the puppet section at Triglav film was closed down, with the entire production house following suit soon afterwards.

The animated cartoon production was poorly organised from the very beginning; few people worked on it and even had to be imported. Regular production had never been launched. Miki Muster, the author of the hugely popular cartoons, attempted to continue his work in the animated film, however the disorderly production enabled him to make only three films. The 1962 Zimska zgodba, based on a story by Smiljana Rozman, was Muster's last film made within the regular domestic production. Nor did the cooperation with foreign producers and filmmakers of the famous Zagreb film school (1+1=3, 1967), such as Zdenko Gašparović and Branko Ranitović, managed to ensure a stable and regular cartoon animation production.

The independent film animation production became to develop more successfully with the amateur and children's films, with Tone Rački and Koni Steinbacher excelling most in this area. The 1981 "A" is considered to be Steinbacher's most mature and demanding work, inspired by a radio play by France Puntar. Steinbacher has remained loyal to the animated film until present, boasting a major independent production. The list of names of few filmmakers who could match him includes Bojan Jurc (Jutri bo novo leto 1982), Marjan Manček, Zvonko Čoh, Milan Erič and Mitja Manček.

While new technologies expanded the animation production, the classical animated film has remained most faithful to the original art. But the classical animation hardly features in the present domestic production, with the exception of filmmakers Marjan and Mitja Manček. The general cultural trends are not very kind to the animated film either. Providing at least some hope for the future are the Festival of Slovene Animation and the activities of Animateka.

Borko Radešček