Kako smo ustvarjale prvi pravi lezbični film

Teja Oblak

Povzetek:

V letih 2005–2007 smo tri neodvisne ustvarjalke delale scenarij za slovenski lezbični celovečerni igrani film. Pred začetkom ustvarjanja smo določile postulate za izdelavo »pravega, avtentičnega« lezbičnega filma. S pomočjo primerjave s filmi Varuh meje, Fina mrtva dekleta (Fine mrtve djevojke) in TV serije Beseda na L (The L word) ugotavljam, kakšne so prevladujoče reprenzentacije lezbijk in lezbičnih izkušenj na filmskem platnu, pomen filma za lezbične gledalke, za katere zvrsti in vsebinske prijeme se najpogosteje odločajo lezbične filmarke, kakšna naj bi bila nestereotipna, »realistična« lezbijka, lezbični klub in lezbična scena v filmu ter kakšne so pasti pozitivizma in ustvarjanja nasprotij obstoječim stereotipom. Skozi avtorefleksijo vrednotim postulate našega scenarija in kakšni vsebinski ter tehnični prijemi bi pomenili dodano vrednost za naš morebitni film. Opredelim tudi vzroke za zaustavitev našega ustvarjanja. Na koncu predstavim vizijo slovenskega lezbičnega filmskega ustvarjanja, ki sloni na izobraževanju, povezovanju z izkušenimi filmarkami/filmarji in grajenju skupnosti.

Abstract:

How We Have Been Making the First True Lesbian Film

Between 2005 and 2007, I have worked on a script for a Slovenian lesbian film with two other women. Prior to writing, we defined the postulates of a “real, authentic” lesbian film. In comparison to films, such as the Guardian of the frontier, Fine dead girls and the TV series The L word, I try to establish what are the dominant film representations of lesbians and lesbian experiences, what is the meaning of film for lesbian spectators, which film forms and contents are most commonly chosen by lesbian filmmakers, what the non-stereotypical, »realistic« film lesbians, lesbian clubs and lesbian scene are supposed to look like and what are the common traps of positivism and creating the opposites of stereotypes. Through self-reflection I evaluate the postulates of our film script and which contents and film forms may add an extra value to our potential film. Moreover, I define reasons because of which our work on the film stopped. Finally, I present my vision for Slovenian lesbian filmmaking, which depends on education, collaboration with experienced filmmakers and community creation.