Filmski obzornik 55: Na kateri strani si?

Andrej Šprah

Povzetek:

Besedilo obravnava projekt Filmski obzornik 55 Nike Autor in sodelavcev Marka Bratine, Jurija Medena in Cirila Oberstarja, s katerim obujajo tradicijo dokumentarne zvrsti, ki se je na slovenskem končala v 50. letih preteklega stoletja. Vendar pa v filmu hkrati z afirmacijo zvrsti prihaja tudi do subvertiranja nekaterih njenih osnovnih določil. Na tematski ravni se zavzema predvsem za ohranjanje njene namenskosti, ki nosi izrazit politično-utilitarni naboj, medtem ko formalne obzorniške značilnosti spodkopava z dodajanjem elementov drugih dokumentarnih (pod)zvrsti. Namesto prizadevanja za utrjevanje dokumentarne vizije avtentičnosti se soočamo z vprašanji in premisleki o iskanju najustreznejše podobe za podajanje razrednega boja, kar odpira samorefleksivne razsežnosti projekta, s tem pa mu dodaja esejistični pridih. S tem film utrjuje prepričanje, da revitalizacija ustaljenih filmskih oblik neizogibno vsebuje zavest o nujnosti njihovega ponovnega premisleka in re-formulacija vsakič, ko se za potrebe osvobodilnih zavzemanj obudi k življenju.

Abstract:

Newsreel 55: What side are you on?

The text examines Newsreel 55 (Filmski obzprnik), a project by Nika Autor made in cooperation with Marko Bratina, Jurij Meden and Ciril Oberstar, which has revived the tradition of this particular documentary genre, which ended in Slovenia in the 1950s. While the film affirms the genre, it at the same time subverts some of its basic elements. At the thematic level, it strives to preserve its purposefulness which has an expressly political and utilitarian charge, while undermining the formal newsreel characteristics by adding elements of other documentary (sub)genres. Instead of the effort to strengthen the documentary vision of authenticity, we are faced with questions and reflections about the search for the most suitable image to convey the class struggle, which opens the self-reflective dimensions of the project, thus adding an essayistic air to it. The film thereby confirms the belief that the revitalisation of established film forms inevitably involves the consciousness about the necessity of their re-consideration and re-formulation every time they are brought back to life for the needs of liberatory struggles.