U radu se analiziraju dokumentarni filmovi Kolos s Jadrana i Berge Istra snimljeni 1972. godine u pulskom brodogradilištu Uljanik s temom krštenja, odnosno porinuća i spajanja krmenog i pramčanog dijela najvećeg i najkompleksnijeg broda dotad izgrađenog u nekom jadranskom brodogradilištu. Takav tehnički i poslovni uspjeh utjecao je na neobaziranje na radničku svakodnevnicu graditelja broda, pa i na neobaziranje na probleme tijekom njegove izgradnje, te je sadržaj u tim filmovima gotovo u potpunosti, s ponekim značajnim odmakom, posvećen idealtipskom prikazu. Sasvim inverznu realnost prikazuje film Godine hrđe snimljen u Uljaniku 2000. godine, gdje je teška svakodnevnica radnika kooperanata u potpunosti zaklonila govor o objektu, brodu koji bi – uspješno izgrađen – ujedno radnike imao učiniti zadovoljnim pojedincima. U radu se, pored analize zasebnih politika prikazivanja filmova različitih perioda, zagovara i komplementarnost tih uradaka.This paper analyses Kolos s Jadrana and Berge Istra, two documentary movies filmed in 1972 at the Uljanik shipyard. Their theme is a christening: the launch and the joining of the stern and bow of the MS Berge Istra, the largest and most complex vessel ever built at an Adriatic shipyard. Such a technical and professional success contributed to a disregard of the building crew’s daily experience as well as a disregard of the problems encountered during the vessel’s construction. Barring a few rare but significant departures, the content of these films is thus almost completely dedicated to ideal representations. However, Godine hrđe, filmed in 2000 in the same shipyard, depicts a completely different reality. In this documentary, the difficult everyday life of subcontracted workers completely overshadows discussion of the vessel – a vessel that, if successfully built, would have brought the workers a great deal of satisfaction. Along with analyzing the distinct politics of representation in films from different periods, this paper argues for the complementarity of these films
