Antologija: Zagreb I / Anthology: Zagreb I

INŠPEKTORJEVA VRNITEV DOMOV / INSPEKTOR SE VRATIO KUĆI / THE INSPECTOR IS BACK!

Vatroslav Mimica (Zagreb film)

Jugoslavija/Yugoslavia, 1959, 35mm, 10'54''

Inšpektor hodi po ulicah in se poskuša izogniti različnim "nevarnostim". V svojem domu se počasi sprošča po napornem dnevu, ko naenkrat zagleda odtis palca na begu. Ne preostane mu nič drugega, kot da se poda na lov za skrivnostnim osumljencem ... V tem filmu je perspektivo zamenjala medigra ploskev, temna gama barva pa ne pričara prostora, temveč izraža neko grozo, ki bi jo lahko opisali kot horror vacui. S pomočjo tehnike kolaža avtor gradi scenografijo z delčki stekla, kartona, s koščki fotografij, ki zamenjajo resnični prostor. Na ta način Mimica uniči logiko prostora in omogoči, da je lik inšpektorja koncipiran tako, da se premika kot robot-žuželka; zdaj je tu, zdaj ga ni, pojavlja se v nepričakovani obliki ter se zavleče pod debele sloje kolažnih dehumaniziranih elementov neprepoznavnih oblik. Pred nami je grotesken morbidni svet z nenavadno sintezo razbitin, fragmentov ter poetično-nostalgična melodija (Mo-no-to-ny) kot vodilni motiv, ki skupaj ustvarita eno najlepših sekvenc moderne animacije.

The inspector walks on the streets and tries to avoid various „dangers". In his home he then relaxes from the tiring day as he suddenly sees a thumb print on the run. He has no choice but to chase the mysterious suspect... In this film, the perspective is changed with the interlude of surfaces, and the dark gamma colour does not conjure up the room, but reflects a certain kind of horror, which could be described as horror vacui. The filmmaker uses the collage technique to create the scene using glass shreds, cardboard, pieces of photos, which represent the real space. In this way Mimica destroys the logic of space and enables the inspector character to be designed as the robot bug; he disappears and then reappears in an unexpected form crawling under thick layers of dehumanized collage elements of unrecognizable forms. We have before us a grotesque morbid world with a curious synthesis of splinters, fragments and a poetic and a nostalgic melody (Mo-no-to-ny) as the leitmotif, which together create one of the most beautiful sequences in modern animation.

Å AGRINOVA KOŽA / LE PEAU DE CHAGRIN / THE WILD ASS'S SKIN

Vladimir Kristl, Ivo Vrbanić (Zagreb film)

Jugoslavija/Yugoslavia, 1960, 35mm, 10'59''

Reven in nesrečen, Rafael zapusti Paulino ter poskusi srečo na ruleti, vendar izgubi vse do poslednjega zlatnika. Usoda mu podari čudežno Å agrinovo kožo, ki izpolni vse želje. V novem razkošnem življenju osvoji čudovito Fedoro. Vendar je z močjo povezan pogoj: po vsaki izpolnjeni želji se koža krajša, tako se krajša tudi življenje njenega lastnika. Rafael pretirano izrablja kožo, zato se njegov čas hitro izteka. Zaman skuša kožo povečati; medtem ko se usoda peklensko smeje, Rafael kriče umre. Paula joče nad telesom mrtvega ljubimca, veter pa nosi listje ter košček kože, ki je bila nekoč tako močna.Film, v katerem avtorja ustvarjalno povezujeta najrazličnejše slikovne vrednosti (od ekspresionizma do geometrijske abstrakcije, pri tem anticipirata renesanso secesije in nadaljevanje poparta) ter ustvarjata enega prvih risanih filmov, ki namerno izgubi zunanjo slogovno enotnost.

Poor and miserable, Raphael leaves Pauline and tries his luck in the gaming house, but loses his last gold coin. The destiny gives him the miraculous Wild Ass's Skin, which fulfils every wish. In his new luxurious life, he conquers the beautiful Foedora. But along with its powers, the skin has a condition: after each fulfilled wish, it becomes shorter, and so does the life of its owner. Raphael spends all the time he had misusing the skin. He then tries to enlarge the skin in vain, and while the destiny laughs shows its devilish smile, Raphael dies screaming and Pauline cries over her lover's dead body; the wind carries leaves and a piece of skin, which once used to be so powerful. The film, in which the filmmakers creatively interlace various painting values (from expressionism to geometric abstract art, anticipating the renaissance of Secession and continuation of Pop Art) and thus create one of the first animated films to intentionally lose the exterior style unity.

SUROGAT / ERSATZ

Dušan Vukotić (Zagreb film)

Jugoslavija/Yugoslavia, 1961, 35mm, 9'36''

Na plaži ob morju turist napihuje plastično maso ter iz nje ustvari cel kamp. V tem pisanem napihnjenem okolju obstaja plastični surogat za vse, celo za čustva. Film prikazuje dehumanizacijo sodobne družbe; je prvi film zunaj meja Združenih držav, ki je dobil oskarja za najboljši animirani film.

On a beach we observe a tourist pumping up a plastic mass and making a campsite. In this coloured pumped up ambiance there is a plastic surrogate for everything, even for feelings. This is the first film outside the United States to win an Academy award for best animated film showing dehumanization of modern society.

DON KIHOT / DON QUIXOTE

Vladimir Kristl (Zagreb film)

Jugoslavija/Yugoslavia, 1961, 35mm, 10'40''

Ta film je ena najbolj impresivnih in najbolj abstraktnih stvaritev Zagrebške šole animiranega filma; številni avtorji ga imajo za vrhunski dosežek animacije v svetovnem merilu, dobil je tudi pomembna priznanja na festivalih. Zgodba je zelo osebna, celo avtobiografsko intonirana variacija na temo viteza brez strahu in pomanjkljivosti (lik je narisan iz linij, podobnih pločevinkam in cevem dimnika), ki se sooča z grozečimi masami mehanizirane civilizacije ter na nenavaden način izraža apoteozo neodvisnosti in svobode ogrožene enote.

This film is one of the most impressive and most abstract creations of the Zagreb School of Animated Film. Many filmmakers characterize it as a topmost accomplishment of animation of global proportions; it has also been acknowledged at festivals and received important awards. This is an intimate, even an autobiographical variation of the theme of a knight with no fear and no flaw.

PETI / THE FIFTH ONE

Pavao Å talter, Zlatko Grgić (Zagreb film)

Jugoslavija/Yugoslavia, 1964, 35mm, 2'47''

Ta kratka risanka je majhna humoreska o človeški vztrajnosti. Igranje skladnega kvarteta zmoti majhen trobentač. Člani kvarteta ga nenehno mečejo ven, on pa se vedno znova vrača.

This short animated film is a small humoresque about human persistence. Playing of the harmonious quartet is disturbed by a little trumpeter. The quartet members keep throwing him out, yet he keeps coming back.

ZID / THE WALL

Ante Zaninović (Zagreb film)

Jugoslavija/Yugoslavia, 1965, 35mm, 4'

Film je ena vrhunskih stvaritev drugega vala Zagreb filma. Å teje za eno najboljših del tega avtorja. Grafično in koloristično je zgodba zelo enostavna, vendar duhovita, polna črnega humorja; to je zgodba o naravi človeških dejanj in družbe, življenjske prakse, funkcionalne animacije, brez rezov (ki jih nadomeščajo gibanja v širino).

Zgodba: zid prepreči pot dvema človekoma. Eden se vda, drugi se ne pusti premagati. Končno drugi človek v zidu naredi luknjo z glavo in tako svojo zmago plača z življenjem. Tako je drugemu pot odprta — vsaj do naslednjega zidu.

This film is one of the masterpieces of the Zagreb Film Second Wave. It is thought to be Ante Zaninović's best work. This story, graphically and colouristically speaking, is very simple, yet marked by black humour. It is a story about nature of human actions and society, way of life, functional animation and it was made without cuts (which are replaced by movements to the width).

A wall blocks the path of two people. One man submits, while the other refuses to admit defeat. Finally, the second man smashes a hole in the wall with his head, paying for the victory with his own life. Now the other person's path is open — at least until the next wall.

BEĆARAC / DANCING SONGS

Zlatko Bourek (Zagreb film)

Jugoslavija/Yugoslavia, 1966, 35mm, 9'

Film je posvečen folklori avtorjeve domače pokrajine Slavonije v jasnem ritmu deseterca. To je primer evropske popart umetnosti, ki je nastala pred slavno Rumeno podmornico Georga Dunninga po glasbi skupine The Beatles.

This film is dedicated to the filmmaker's homeland Slavonia in the rhythm of the decasyllabic verse. The example of the European Pop Art before the famous Yellow Submarine by George Dunning made to the music by The Beatles.

MALI IN VELIKI / MALI I VELIKI / LITTLE AND BIG

Zlatko Grgić (Zagreb film)

Jugoslavija/Yugoslavia, 1966, 35mm, 7'28''

Grgićeva izvirna interpretacija klasične animirane scene "lova". To je film, v katerem je avtor izrazil svoj "umetniški kredo", ko junakom na koncu filma v več jezikih položi v usta znameniti programatski stavek "Poruki njet!"...

Zlatko Grgić's unique take on the classic cartoon "chase". The film in which the filmmaker expressed his "artistic credo" by putting the famous programmatic sentence "Poruki njet!" in his characters' mouths at the end of the film.

DNEVNIK / DIARY

Nedeljko Dragić (Zagreb film)

Jugoslavija/Yugoslavia, 1974, 35mm, 8'31''

Risani animirani dnevnik odseva spomine čudes in odtujenosti življenja; nudi avtorjev doživljaj sodobne Amerike. Animiranje avtorjeve nerazložljive notranjosti v 24-ih sličicah na sekundo je poetski esej o lastnem ustvarjanju znotraj animacije, ki velja za mojstrovino modernega animiranega filma.

Memories of both the wonder and alienation of life reverberate in this animated diary. The diary offers the filmmakers new experience of the contemporary America. Animation of the filmmakers own inexplicable internal world in 24 pictures per second is a poetic essay on one's own creation in animation, which is regarded as a masterpiece of the modern animated film.

MORA / NIGHTMARE

Aleksandar Marks, Vladimir Jutriša (Zagreb film)

Jugoslavija/Yugoslavia, 1977, 35mm, 10'

Eden najboljših risarjev in prvakov zagrebške šole animacije Aleksandar Marks, slikar rafiniranega grafizma, je v Jutriši našel kongenialnega animatorja. Znana sta po promoviranju žanra risanega "hororja". Mora spada v poseben ciklus onirične grozljivke, ki je edinstven v moderni animaciji.

One of the best sketchers and champions of the Zagreb School is Aleksandar Marks, a painter of refined graphical art, has found an equally brilliant animator in Jutriša. They are known for promoting the "horror" genre of animated film. Nightmare is a part of a special cycle of oneiric horror, which is unique in modern animation.

Å OLA HOJE / Å KOLA HODANJA / LEARNING TO WALK

Borivoj Dovniković (Zagreb film)

Jugoslavija/Yugoslavia, 1978, 35mm, 8'17''

To je zgodba o Svojku, ki je hodil, kot ga je naučila mama, vendar so ga prijatelji Trzavko, Vlečko, Dolgin in Hlačač nameravali naučiti hoditi vsak na svoj način. Vsak izmed njih je trdil, da je njegova hoja prava. Svojko se je komaj znebil "rešiteljev" in nadaljeval s svojo materno hojo.

This is the story of Stubborn Tom who walked the way his mother taught him to walk, but his friends Twitchy, Slouch, Longneck and Thumpy constantly tried to teach him to walk the way they did, each of them convinced that his way of walking was the correct one. Stubborn Tom could barely get rid of his "saviours" and continued to walk his mother walk.

SATIEMANIA

Zdenko Gašparović (Zagreb film)

Jugoslavija/Yugoslavia, 1978, 35mm, 16'40''

Favna megalopolisa, džungla supermarketov, norišnica bordelov in barov, efekti avtomobilskih luči v megli, nihanje žita in vode ter majanje obešenih — slike, videne skozi oko animatorja, v harmoniji ali stiku s satirično rogajočo, včasih tudi najbolj čisto lirično klavirsko glasbo Erica Satija. S to magistralno vizualizacijo glasbe pozabljenega ter naknadno odkritega skladatelja, z virtuozno animacijo risb v različnih tehnikah (akvarel, tempera, pastel), je Gašparović presunil svet (celo svoje kolege), ker je v svet animiranega filma prinesel pomembne nove vrednote.

His story is a fauna of the megalopolis, the jungle of the supermarkets, the bedlam of brothels and bars, the effects of headlights in the fog, the flawing waters, the swaying of wheat and of men hanging — all this seen through the animator's eye in harmony or in contact with the satirically mocking, but sometimes also extremely lyrical piano music by Eric Satie. Gašparović has amazed the world (and even his colleagues) with this magisterial visualization of music by the forgotten and rediscovered composer Eric Satie and the virtuoso animation using diverse techniques (aquarelle, tempera, pastel); he has added new values to the world of animated painting.