GAVELA’S DIGRESSIONS ON FILM

This article puts forth and discusses Branko Gavella’s thoughts regarding acting in the movie from the essay The Actor and Audience (Theater Problems), first published in 1934 in the fifth issue of Krleža’s magazine Today. Although cursory, these comments are still particularly noteworthy because Gavella clearly distinguishes the nature of on-screen acting and acting in theater. Based on this insight, he concludes that, due to its technical nature, a movie can make an actor surreal, or in other words, surpass many realistic assumptions and directly go to an entirely spiritual manifestation. In the process, Gavella dwells on the connection between actor and ambient in a movie in particular, specifically the possibility of a movie’s means of expression highlighting or subverting an actor’s face and expression. Since the essay puts forward both Gavella’s (extensive) quotes and detailed insight into his remarks, this article discusses and contextualizes them within the confines of period-specific film theory and screen-acting theory in particular, and comes to the conclusion that the presented remarks essentially pioneer the definition of screen-acting, not only within a Croatian context, but further abroad as well

Alone in the nahvao World: Film Biographies of Dora Pejačević, Slava Raškaj and Marin Držić

By starting with a wider interpretation of the terms nazbilj people* and nahvao people*, where the first are real people and moral heroes, while the others are irrational and greedy, the author analyses the relationship of heroes/artists as nazbilj people and their surroundings as a group of nahvao people in films Kontesa Dora (Countess Dora) (1993) about the composer Dora Pejačević, directed by Zvonimir Berković; 100 minuta slave (100 minutes of glory) (2004) about the painter Slava Raškaj, directed by Dalibor Matanić and Libertas (2006) about the playwright Marin Držić, directed by Veljko Bulajić. At the same time, that relationship, which in every three films ends by the defeat of the main characters and their ambitions, is analyzed through their stories as well as on the plan of visual composition of scenes. * These are terms for describing two kinds of people that Držić uses in his comedy Dundo Maroje. Nazbilj people are truthful and honest people, moral heroes, while nahvao people are those who are hypocrites, phonies and greedy people

ANTE PETERLIĆ’S EARLY CRITIQUE AND ESSAYS

U radu se daje pregled kritika i eseja potaknutih aktualnim filmovima s kino repertoara koje je filmolog Ante Peterlić objavljivao u tisku u razdoblju 1957-71. Ti se tekstovi klasificiraju u nekoliko skupina (kritike filmova, eseji o više filmova ili pojedinom režiseru, osvrti o glumcima, osvrti na aktualne stilske tendencije) te se potom izlažu njihove temeljne postavke. U zaključku oni se nastoje uklopiti u cjelokupno Peterlićevo pisanje o filmu.This paper provides an overview of the critique and essays motivated by movies from the theater repertoire published by filmologist Ante Peterlić in the period between 1957 and 1971. These texts are classified into several groups (film critique, multiple movie essays or directorial essays, actor reviews, overviews of recent stylistic tendencies), and then their basic principles are laid out. Finally, they are incorporated into the whole of Peterlić’s writing on film

Southern Side of Hvar by Nikica Petrak

This paper analyses Nikica Petrak’s lyrical poem Southern Side of Hvar. The analysis starts by noting that the whole poem is marked by the figure of addressing, in which the lyrical subject addresses an addressee. The further analysis shows that the lyrical poem Southern Side of Hvar is expressively rich in evocation revealing the poem’s desire to become intimate with the world, as well as revealing that it is a poem of an ecstatic and rhapsodic subject. Petrak’s poetic images express a close proximity of poetry as a literary form to visual arts, while the poem’s meditative and unpredictable rhythm arising from specific word order indicates a musical dimension, which, in turn, draws this poem closer to a dream. The theme and motifs of the poem are analyzed on the basis of the structure of the poem, revealing a gradual unison of the lyrical subject and the object (the addresee). This leads to the conclusion that the poem Southern Side of Hvar, although focusing on the topic of landscape, can also be interpreted as a love poem

Southern Side of Hvar by Nikica Petrak

This paper analyses Nikica Petrak’s lyrical poem Southern Side of Hvar. The analysis starts by noting that the whole poem is marked by the figure of addressing, in which the lyrical subject addresses an addressee. The further analysis shows that the lyrical poem Southern Side of Hvar is expressively rich in evocation revealing the poem’s desire to become intimate with the world, as well as revealing that it is a poem of an ecstatic and rhapsodic subject. Petrak’s poetic images express a close proximity of poetry as a literary form to visual arts, while the poem’s meditative and unpredictable rhythm arising from specific word order indicates a musical dimension, which, in turn, draws this poem closer to a dream. The theme and motifs of the poem are analyzed on the basis of the structure of the poem, revealing a gradual unison of the lyrical subject and the object (the addresee). This leads to the conclusion that the poem Southern Side of Hvar, although focusing on the topic of landscape, can also be interpreted as a love poem

The Long Way Home (Travels and Wanderings in Croatian Movies in General, and in The Return, the Movie made by Antun Vrdoljak)

This article gives a short review of the travels presented in Croatian movies from the sixties, until the beginning of this century.The movie called the return (1979), made by Antun Vrdoljak, is reviewed separately; this is the movie whose title carries the implicit journey, wandering, perhaps even escape. the author’s intention was to review the movie which was not an adaptation, in order to avoid the comparison between the movie and the original text, which, in that case, would be inevitable. Also, the author used this particular film as an example which shows that because of the motion in movies there is always travel involved