Yugoslav Avant-Garde films in the Berkeley Art Museum & Pacific Film Archive

0

yugoslav_avant_garde_films_in_berkeley_art_museum_&_pacific_film_archive
A critically important realm of avant-garde cinema has been largely neglected in the US over the years—the wave of films that emerged in the countries of former Yugoslavia. While a handful of filmmakers have penetrated the consciousness of American scholars and cineastes – Dušan Makavejev above all, though Karpo Godina and Želimir Žilnik have begun to make ripples as well—these artists are merely the tip of the iceberg, representing an experimental film movement of extraordinary richness, inventiveness, and uncompromising political engagement.

To begin to redress the invisibility of these films here in the US, as well as to call attention to some of the important institutions and organizations that are heroically working (in the face of daunting obstacles) to preserve the avant-garde cinema of ex-Yugoslavia, Berkeley Art Museum & Pacific Film Archive has invited the Slovenian Cinematheque, the Croatian Film Association, and the Academic Film Center, Belgrade, to curate programs showcasing films from their collections. Although even these four programs represent only the most selective of surveys of the Slovenian, Croatian, and Serbian avant-garde movements, the films included here are guaranteed to transform your conception of twentieth-century experimental cinema.

Jed Rapfogel, Film Programmer, Anthology Film Archives, New York


Slovenian 8mm Experiments: Karpo Godina and Davorin Marc

Wednesday, March 11, 2015,  7. 30 pm

Introduction / Jurij Meden
Jurij Meden is the former curator of film exhibitions at Slovenian Cinematheque and is currently curator of film exhibitions at George Eastman House.
Karpo Godina launched his career in the mid-sixties with a succession of 8mm experimental shorts, predominantly designed to question everything he was being taught at the state film academy. In retrospect it seems as if Godina had to go through this romantic, frantic phase in order to arrive at what he became famous for: extracting as much (political) action and dynamics as possible from meticulously framed, perfectly still images. Emerging a decade after Godina, the post-punk Davorin Marc remains a subject for further research. Notoriously reclusive and with over 150 super-8mm and 16mm films under his belt, he modestly describes his work as “small films.” – Jurij Meden
  • Game (Divjad) – Karpo Godina, Jure Pervanje, Yugoslavia, 1965, 6 mins @ 18 fps, Silent with separate sound on CD, B&W, 8mm transferred to 35mm
  • Dog (Pes) – Karpo Godina, Mario Uršić, Yugoslavia, 1965, 8 mins @ 18 fps, Silent with separate sound on CD, B&W, 8mm transferred to 35mm
  • Anno Passato (A.P.) – Karpo Godina, Yugoslavia, 1966, 5 mins @ 18 fps, Silent with separate sound on CD, B&W, 8mm transferred to 35mm
  • The Gratinated Brains of Pupilja Ferkeverk (Granitirani Mozak Pupilje Ferkeverk) – Karpo Godina, Yugoslavia, 1970, 15 mins, Color, 35mm
  • Bite Me. Once Already (Ugrizni Me. Že Enkrat) BITE ME. ONCE ALREADY -Davorin Marc, Yugoslavia, 1978/80, 1:35 mins, Silent, Color, Super 8mm
  • Slaughter Ahoy (Ej Klanje) – Davorin Marc, Yugoslavia, 1981, 16 mins @ 18 fps, Silent with separate sound on CD, Color, Super 8mm
  • Fear in the city (1181 Days Later or Small of Rats) (Paura in Citta (1181 Dni Pozneje Ali Vonj Po Podganah)) – Davorin Marc, Yugoslavia, 1984, 21 mins, Color, Super 8mm transferred to 35mm
  • 25 seconds Per Frame (Piknik) – Davorin Marc, Yugoslavia, 2013/14, 10:50 mins, Silent, Color, Super 8mm transferred to Digital video

Total running time: 83 mins


Croatian Avant-Garde Filmmakers of the 1960s

Thursday, March 19, 2015, 7.30 pm

Introduction / Pavle Levi

Pavle Levi is a professor of film and media studies at Stanford University and the author most recently of Cinema by Other Means 

The filmmakers represented in this program are among the most prominent members of the enormously vibrant Croatian experimental scene of the 1960s. All of them were members of the amateur cine-clubs that formed in all the major cities of Yugoslavia at the time, as well as participants in the Genre Film Festival, a unique festival of experimental film in Zagreb that was the most important gathering point for “film researchers” and other independent filmmakers from Yugoslavia. Their approach to cinematic experiments differed greatly, from a prototype of the so-called anti-film to works that anticipated the structural film movement, to poetic-meditative orientations. - Diana Nenadić

  • Encounter (Sretanje) – Vladimir Petek, Yugoslavia, 1963, 5 mins, B&W, 35mm
  • The Forenoon of a Faun (Prije Podne Jednog Fauna) – Tomislav Gotovac, Yugoslavia, 1963, 8 mins, B&W, 16mm
  • Straight Line (Stevens-Duke) (Pravac (Stevens-Duke)) – Tomislav Gotovac, Yugoslavia, 1964, 10 mins, B&W, 16mm
  • Circle (Jutkevich – Count) (Kružnica (Jutkevič – Count)) – Tomislav Gotovac, Yugoslavia, 1964, 12 min, B&W, 16mm
  • I’m Mad -Ivan Martinac, Yugoslavia, 1967, 5 mins, Super 8mm transferred to 16mm
  • Focus – Ivan Martinac, Yugoslavia, 1967, 7 mins, B&W, 35mm
  • People (In Passin) II (Ljudi) U Prolazu) II) – Lordan Zafranović, Yugoslavia, 1967, 11 mins, B&W, 35mm
  • Afternoon (The Gun) (Poslijepodne (Puška)) – Lordan Zafranović, Yugoslavia, 1968, 15 mins, B&W, 35mm

Total running time: c. 80 mins


The Experimental Film Movement in Serbia: Formative Years (1950s–60s)

Sunday, March 22, 2015, 5:00 p.m.

With the establishment of cine-clubs in Yugoslavia after World War II, the filmmakers at the front ranks of experimental (and, later, professional) cinema in Serbia in the 1950s and the beginning of the 1960s – including Dušan Makavejev, Živojin Pavlović, Vojislav Kokan Rakonjac, and Želimir Žilnik – created a number of films that used narrative experimentation to pose questions related to the essence of the socialist social system. Their professional films, made during the 1960s, displayed a deep social and political engagement that strongly shook the existing socialist society, and won the movement the name “Black Wave” (Cinema Noir) in Yugoslavia. - Miodrag Miša Milošević

  • Antonio’s Broken Mirror  (Antonijevo razbijeno ogledalo) – Dušan Makavejev, Yugoslavia, 1957, 11 mins, B&W, 16mm transferred to Digital video
  • Triptych On Matter And Death (Triptih o materiji i smrti) – Živojin Pavlović, Yugoslavia, 1960, 9 mins, B&W, 16mm transferred to Digital video
  • The Wall (Zid) – Vojislav Kokan Rakonjac, Yugoslavia, 1960, 8 mins, B&W, 16mm transferred to Digital video
  • Smoke and Water (Dim I Voda) – Dragoslav Lazić, Yugoslavia, 1962, 12 mins, B&W, 16mm transferred to Digital video
  • Arms In The Purple Distance (Ruke ljubičastih daljina) – Sava Trifković, Yugoslavia, 1962, 11 mins, B&W, 16mm transferred to Digital video
  • Ecstasy (Ekstaza) – Petar Arandjelović, Yugoslavia, 1963, 5:30 mins, B&W, 16mm transferred to Digital video
  • Blue Rider (Godard-Art) Plavi jahač (Godard-Art) – Tomislav Gotovac, Yugoslavia, 1964, 14 mins, B&W, 16mm transferred to Digital video

Total running time: c. 75 mins


The Experimental Film Movement in Serbia: Years of Structure (1960s–80s)

Sunday, March 29, 2015, 5:00 p.m.

Film as a medium of expression and film in which the structure plays the dominant role were the most widespread in the 1960s and 1970s in Belgrade. The films of Zoran Popović, Slobodan Šijan, and Ljubomir Šimunić explored diverse visual structures. Vjekoslav Nakić, Nikola Djurić, and Radoslav Vladić created films with pure structures and atmospheres. Ivan Obrenov and Bojan Jovanović, through the predominant postmodernist style of their works, again began to pose questions related to the topics of unfinished revolutions and neocolonialism. And at the beginning of the 1980s, Miroslav Bata Petrović would deal with the results of the materialist approach to film. – Miodrag Miša Milošević

  • Head-Circle (Glava-Krug) – Zoran Popović, Yugoslavia, 1968–69, 5 mins, Color, 8mm transferred to Digital video
  • Composition (Kompozicija) – Vjekoslav Nakić, Yugoslavia, 1970, 6 mins, B&W, 16mm transferred to Digital video
  • The Garden of Forking Paths (Vrt sa stazama koje se račvaju) – Slobodan Šijan, Yugoslavia, 1971, 4 mins, 8mm transferred to Digital video
  • Journey (Putovanje) – Bojana Vujanović, Yugoslavia, 1972, 2 mins, B&W/Color, 16mm transferred to Digital video
  • From Me to You (O Mene Do Tebe) – Mirko Avramović, Miodrag Tarana, Yugoslavia, 1972, 4 mins, B&W, 8mm transferred to Digital video
  • Vowels (Samoglasnici) – Nikola Đurić, Yugoslavia, 1973, 8 mins, B&W, 16mm transferred to Digital video
  • Gerdy, The Wicked Witch (Gerdy, zločesta vještica) Ljubomir Šimunić, Yugoslavia, 1973–76, 9:30 mins, Color, 8mm transferred to Digital video
  • Expiration (Izdah) – Ivan Obrenov, Yugoslavia, 1976, 12 mins, B&W/Color, 16mm transferred to Digital video
  • House (Kuća) – Radoslav Vladić, Yugoslavia, 1977, 8 mins, Color, 16mm transferred to Digital video
  • Holiday (Praznik) – Bojan Jovanović, Yugoslavia, 1983, 11 mins, Color, 16mm transferred to Digital video
  • Pure Film: Memento Of Geff (Čisti Film: Sećanje Na Geff) – Miroslav Bata Petrović, Yugoslavia, 1984, 5 mins, B&W, 16mm transferred to Digital video

Total running time: c. 80 mins

 

Comments are closed.