Od pospešenega gibanja do trkov: nekaj časovnih figur. Ob jubilejni ediciji filmskega festivala v Oberhausnu 2012

Katja Čičigoj

Povzetek:

Prispevek izhaja iz genealoške predpostavke, da je film tipično moderna tvorba: umetnost gibanja, posledica tehnološkega napredka, ki ga pogosto tudi slavi. Zlasti različne (filmske in druge) avantgardne prakse na različnih straneh ideološkega spektra zaznamuje ponotranjenje te futuristične progresivne časovnosti moderne. Pričujoči zapis želi kritično premotriti določene tovrstne filmske primere, ki so bili prikazani na filmskem festivalu v Oberhausnu 2012 ob jubileju podpisa Oberhausnovega manifesta; predvsem pa raziskati alternativne sočasne filmske prakse ter sodobne eksperimentalne filme Ilppa Pohjole (ki mu je bila letos posvečena festivalska sekcija). Te zaznamuje drugačno razumevanje časovnosti, ki ga udejanja na samem telesu filma in ki ga s Francom Berardijem imenujemo post-futuristično.

Abstract:

From Accelerated Motion to Car Crashes: A Few Time-figures. On the 50th Anniversary of the Oberhausen Manifesto

The point of departure will be the genealogical conjecture that film is a typically modern invention: the art of movement, a product of technological progress, which it often also celebrates. It was particularly the different (film and other) avant-gardes on both sides of the ideological spectrum that were massively determined by this futuristic progressive temporality of modernity. The aim of this article will be to critically examine some film examples of this attitude that were screened at the 2012 International Short Film Festival Oberhausen in commemoration of the jubilee of the Oberhausen Manifesto, but particularly to analyze alternative contemporary film practices and contemporary experimental films by Ilppo Pohjola (which were shown in a special section of this edition of the festival). These are determined by a different kind of experience of temporality that we chose to call, after Franco Berardi, post-futuristic.