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KINO! 51 has been published!💚

With a number of diverse studies, this special edition examines film and ecology. In his metatext, Tadej Troha considers the beginning and the end of climate crisis, Tomaž Grušovnik paints the modes of representing nature in films, while Kaja Kraner provides the historical premises of representing nature, foregrounding the term dark ecology. Based on unusual experiments, Becca Voelcker thinks about farmer-filmmakers, fieldwork and growth. Aljaž Škrlep presents vegetal film, while Maks Valenčič deals with film as a medium of encoding information and considers the limits of film. Oskar Ban Brejc centres on De Humani Corporis Fabrica by Sensory Ethnography Lab, while Polona Petek analyses Christopher Nolan’s Oppenheimer. Based on the case study of Alex Garland’s Annihilation, Veronika Šoster and Neja Rakušček question ecohorror and the new modes of the ecologically horrifying, while Matjaž Zorec serves the general line of our daily bread. Robert Kuret reflects on new materialisms that develop philosophy in relation to ecology in Ema Kugler’s film oeuvre, while Martin Pogačar thinks about humans, trains and nature through (not only) a documentary reconstruction of post-war Yugoslavia. In the Reviewed section, Darko Štrajn presents cinema as a transformative agency in art and its echoes.

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With its thematic section, KINO! 49/50pays tribute to Ema Kugler, whom Sabina Đogić conversed with in an extensive, honest and scintillating interview. The set of interviews consists of conversations with Slovenian and foreign theoreticians and practitioners (James Benning has, for example, returned to the pages of KINO!). The Breakthroughs section brings reflections on the more prominent works of contemporary Slovenian and foreign production, among others, Aftersun (2022) and Tomaž Grom’s experimental film Don’t Think It Will Ever Pass (2023). Anže Okorn has contributed the third part of his series of texts on Deleuze, inclusive disjunction and, this time, Syberberg’s Hitler. In the School Period section, Stojan Pelko discusses (the) film(ic) in Wenders’s State of Things (Der Stand der Dinge, 1982). Andrej Šprah has reviewed Rajko Grlić’s Še ne povedane zgodbe. Oskar Ban Brejc has contributed his scientific paper on the failed bodies in Ulrich Seidl’s films to the reviewed section Film and Television Studies. In celebration of the fiftieth issue, we have also published a substantial selection of pillow shots by incisive poets: Ana Pepelnik, Urša Majcen, Tone Škrjanc, Blaž Božič, Primož Čučnik, Andreja Štepec, Sergej Harlamov and Lukas Debeljak. Particular topics, such as the sustainable aspect of cinema, sneak from one section to the next…

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KINO! 48 examines the connections between films and music videos arising from the sensibility for filming music and musicalising film, collective critical engagement, video-like film sequences or filmic videos… Diverse reflections are accompanied by interviews with successful Slovenian music video directors (the Insan collective, Matevž Jerman and Niko Novak). The 130th anniversary of the birth of Herman Potočnik Noordung, which we already marked with an extensive selection of texts in the previous issue, is also commemorated in this one by contributions from Anže Okorn, Oskar Ban Brejc and Natalija Majsova, while the special thematic section is rounded off by a selection of transcribed documents that the founders of Ksevt (Dragan Živadinov, Miha Turšič and Dunja Zupančič) deposited with the National and University Library upon the tenth anniversary of Ksevt’s opening. The newly established reviewed segment consists of two original scientific papers: Ana Šturm writes about podcasts as a new form of cinephilia, while Kristian Božak Kavčič discusses the use of AI for the enrichment of old film images. The School Period section brings a study of A Woman Under the Influence (1974) nimbly penned by Stojan Pelko. Simon Smole reviews Nina Cvar’s Digitalna podoba in globalni kapitalizem: Tehnologija, politika, upor, while Ivana Novak revives the Youth Film section with her reflection on the regenerative power of The Summer I Learned to Fly (Leto kada sam naučila da letim, 2022) in the framework of Yugoslav historical trauma…

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Upon the centenary of Pier Paolo Pasolini’s birth, this double issue of KINO! devotes a special thematic section to his provocative and elusive film expression. 130 years after the birth of Herman Potočnik Noordung, the writers in the Film and Technology section gaze at the dark space screen. The Breakthroughs section includes discussions on Sara Kern’s film debut, Julie Ducournau’s Titane (2021) and Nika Autor’s newsreels. KINO! 46/47 brings the book reviews of Jurij Meden’s Scratches and Glitches – Observations on Preserving and Exhibiting Cinema in the Early 21st Century and Primož Krašovec’s The Alien Capital. The in-depth reflections on select television series, animated and genre films and festival hits are cushioned by a substantial amount of Pillow Shots by Wallace Stevens, Petra Meterc, Jože Vogrinc, Vlado Škafar, Ana Pepelnik and Muanis Sinanović. It is worth mentioning that, with the paper on the sublimeness of nature in Terrence Malick’s Days of Heaven (1978), KINO! is introducing a new and the first peer-reviewed section for scientific papers in the field of film and television in Slovenia.

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New KINO! on the horizon

With a special thematic section, KINO! 45 looks at the visible and invisible (internal and external) landscapes that the Iranian master of poetic filmic ideography Abbas Kiarostami put on celluloid film. Within the fresh local and regional production (in the broader region of the so-called Yugosphere), it recognises the breakthrough nature of the new (anti-)newsreel by Nika Autor, a recipient of the France Brenk Award, Newsreel 80 – Metka, Meki (2021), the debut film by the excellent Slovenian music experimentalist and double-bass player Tomaž Grom, Can’t Wait for You to Come(2021), and Landscapes of Resistance (Pejzaži otpora, 2021) by Marta Popivoda, in which the images were sensitively merged by the editor Jelena Maksimović – we already devoted many pages to these filmmakers in the previous edition. The new KINO! also offers a peek behind the scenes of filmmaking  through conversations with Špela Čadež about her new animated masterpiece Steakhouse (2020), Ivan Ikić about Oasis (2020) and the old hand Želimir Žilnik. In addition, a special place is dedicated to numerous film (and television) treatments of the tragic events that took place on 22 July on Utøya. Through a reportage, the section on Film Education offers and insight into the Film Camp in Nova Gorica, while the Book section brings a review of Soviet Science Fiction Cinema and the Space Age, a study on Soviet science fiction by Natalija Majsova… 

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KINO! 43/44 brings a mix of new studies on filmmakers that the readers might be familiar with from previous issues (e.g. Jelena Maksimović and Ivan Ramljak), film classics (e.g. Agnès Varda and Frederick Wiseman) and new discoveries (e.g. Elsa Kremser, Levin Peter and Mariusz Wilczyński). The thematic section on cinema and animal ethics focuses on interesting contemporary film representations of animals, whose ethical implications are discussed by Tomaž Grušovnik, Anja Radaljac, Oskar Ban Brejc, Muanis Sinanović and Aljaž Krivec. The largest part of this issue consists of a group of theoretical studies on the relation between films and video games; the traces that games leave on films – and films on games – are discussed by Melita Zajc, Robert Kuret, Muanis Sinanović, Matej Trontelj and Domen Mohorič. In addition to the film-related texts, this issue of KINO! also includes contributions on public conflicts between certain institutions in Ljubljana; the texts about ROG and the City of Ljubljana and Radio Študent and the Student Organisation of the University of Ljubljana (ŠOU) were written by Jernej Kaluža, Izidor Barši and Rastko Pečar, Peter Karba and Vid Bešter. Perhaps even more explicitly than the previous ones, this issue of KINO! is an attempt at finding the only way / to be attached / to history / to human time – as read Muanis Sinanović’s verses that open KINO! 43/44 as an epigraph.

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KINO! 42: Film and Architecture

In the spotlight of the new issue of KINO! is the relationship between film and architecture. Writers approach this relationship very differently. Peter Karba’s article is a theoretical examination of the formal and historical similarities and differences between film and architecture. The articles by Tobias Putrih and Celie Eckert and Nace Zavrl seek a connection between film and architecture in the element of a cinema auditorium; Putrih’s article focuses on the importance of cinemas in various historical moments, while Eckert and Zavrl discuss the altered contemporary cinematic experience. In a similar way, Dan D’Amore explores the significance of the cinema auditorium in the context of Altman’s Brewster McCloud (1970). Oskar Ban Brejc, Kristian Božak Kavčič and Robert Kuret explore the cinematic importance of architecture in the works of individual filmmakers, while Anne Ulrikke Andersen focuses on the Montenegrin city of Igalo and the meaning of disability for architecture. Last but not least, Alisson Griffiths examines the phenomenon of cinema screenings in prisons.

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KINO! 40/41: Pedro Costa, Miha Vipotnik …

KINO! 40/41 brings formally diverse analyses of contemporary breakthrough films, a series of interviews with selected filmmakers, a study of the oeuvre of the unique Portuguese filmmaker Pedro Costa and a thematic block dedicated to Miha Vipotnik, a Slovenian director of short experimental videos and films. The School Period section continues the discussion on genre films, while select studies are gathered in the Books, Reflection and Historicity of Cinema sections. The Pillow Shots placed between the theoretical texts provide for a well-deserved rest (according to Ozu). They range from an impression of the contemporary political situation in Paris to selected poems of Walt Whitman and several contributions of contemporary Slovenian poets and poetesses.

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KINO! 39: Jelena Gavrilović …

In the Breakthroughs section some authors discuss the outstanding contemporary films of domestic and foreign production, while others talk to filmmakers about their work and artistic path. The Film Education section brings, among other things, a report from the international Luksuz Production workshop and the views on film education of several teachers involved in the Understanding Film project. Special sections are dedicated to the filmmakers Jelena Gavrilović and Kevin Jerome Everson. Euphoria and The Sopranos (celebrating the 20th anniversary of their first screening) are discussed in the Television section. All this and much more in the new issue of KINO!.