Filmske podobe v označevalni praksi

Darko Štrajn

Povzetek:

Na robu časa, ki se je poimenoval za čas avantgarde, je bila filmska kamera zelo uporaben instrument. Ob izteku modernizma se je z eksperimentalnim filmom dopolnila relacija umetnosti in časa v kategoriji sedanjosti, ki se je artikulirala v koncept. Film nasploh, ki je s tem, ko je postal razsežnost množične percepcije in manifestna umetnost reprodukcije v obliki velike proizvodnje, je – kot je l. 1984 pripomnil Dudley Andrew – lahko tudi odprl vprašanja o videnju. To spraševanje se je v filmu zgodilo na način eksperimentalnega filma. Pri tem se je spotoma povnanjila problematika, ki jo je, med drugimi, nakazal že škof Berkeley v svoji teoriji videnja, ko je opozoril na razmerje med videnim in občutenim s tipom. Toda v šestdesetih letih dvajsetega stoletja so se filmske evokacije interaktivne konstitucije percepcije v refleksivnih, samonanašalnih, paradoksnih in šokantnih vizualnih gestah z učinki razsrediščenja filmske podobe prikazale kot označevalci družbeno opredeljenih razmerij. Zato se je eksperimentalni film hkrati postavil v izhodišče dogodka prežemanja filma z radikalno umetnostjo in v središče vprašanj o družbeni revoluciji. Jugoslavija je bila kraj, kjer je bil ta pojem tisti čas zelo navzoč, zato je bila stimulativno okolje za eksperimentalni film.

Abstract:

Film images in signifying practice

On the edge of time, which termed itself as the time of the avant-garde, the film camera was a very practical instrument. At the end of modernism, the relationship between art and time was fulfilled through experimental film and found its conceptual articulation in the category of the present. Film in general, as it had become a dimension of mass perception and a manifest art of reproduction, taking the form of large-scale production, was able to ask questions on the act of seeing itself, as Dudley Andrew remarked in 1984. This questioning took place in experimental film. It also made apparent certain problems, which were already signalled by – among others – Bishop Berkeley in his theory of vision, in which he emphasised the rapport between the seen and the felt on one hand, and the sense of touch on the other. However, in the 1960s, film evocations of the interactive constitution of perception in the reflexive, self-referential, paradoxical and shocking visual gestures, effecting a decentring of film image, imposed themselves as the signifiers of socially determined relationships. Therefore, experimental film placed itself at the origin of cinema’s pervasion with radical art and in the centre of questions pertaining to the social revolution. Since this notion was very much present at the time in Yugoslavia, it presented a very stimulating environment for experimental film.