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Documentary in celebration - Sabina Pop
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ISBN: 978-606-28-1039-9
DOI: 10.5682/9786062810399
Publisher year: 2019
Edition: I
Pages:
Publisher: Editura Universitara
Author: Sabina Pop
Product Code:
9786062810399
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Documentary in celebration
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Sabina Pop
We need competition and we need such a stimulating mood, typical of competition. We need that opportunity that is commonly called the "organizational framework", but which is actually a valuable opportunity to see grouped the most representative (tried) films of a year. We need the constructive comparison, not only or not necessarily the value one, but especially the one of styles, tendencies, trials, ways of working, thoughts, ideas and artistic beliefs, which only there, through confrontation and comparison, can be proved. worthy of continuation or necessary to be abandoned. In a word, we need the global view of the Romanian cinematographic phenomenon and the synthesis judgments that derive from it.
We need that unique state of mind, difficult to explain in words but the characteristic and unmistakable whose appearance is trying to be stimulated and which often already exists and is felt, consciously, as such, by many: the state of spiritual effervescence, the state of verve.
We need that place where everything is under the sign of MOVIE, of MOVIE ART, where you breathe film, where programmatically that's all you have to do, watch a movie, discuss a movie, comment on a movie, get contaminated and contaminate in turn with artistic thought and idea.
We need - perhaps this in the first place - what the formula "confrontation with the public" means (in its primary sense, the dusty one of too frequent use). We need to hear with our own ears the spontaneous applause (addressed to your film or that of your colleague) when the artistic thought (only the filmmakers themselves know how long polished) manages to reach the audience. We need to be there to feel, to understand that truth - at hand, but often forgotten - that a room does not mean, simply, publicly, that is, a table without precise contours hidden under a generic title; and as an audience it means a sum of distinct individualities, of personalities, of different people, a sum of consciousnesses, of souls and minds, which, here, for a moment, resonates in the same way, in the way that you, the director, thought , you wanted, you hoped. We also need to feel the unforgiving amendment of the same amount of consciousness when what you present was not believed because it was didactic, thesis, illustrative or incapable, professional or artistic. We need to feel (oh, how encouraging and stimulating this feeling is!) The audience's love for film. Let's know, let's find out once again, let's convince ourselves once again that he, the public, is with us and that our problems are neither foreign to him, nor
indifferent.
We need FESTIVAL. In the Festival, THE MOVIE IS ON HOLIDAY.
S.L.A.S.T IV / 36 (154) - September 2, 1984
In the era we are referring to today, the '80s, the festivals were few, and the possibilities to participate, especially abroad, at least in Eastern countries, in these HOLIDAYS OF THE FILM were even less, almost non-existent. That is why we felt, each of us, such an occasion as a great EVENT, we lived it with all our being and honored it. The professional results after such an event were also great precisely because he lived at high levels and each of us tried to "squeeze" from this experience everything that could be fruitful; for… you could not know when the opportunity arose…
With the help of UCIN, which did a lot at the time for the presence of Romanian film in festivals, the Sahia documentaries reached the same few competitions every year, especially in Eastern countries; but not only because "Romania had to be represented" in important competitions, it was part of party politics; and with the film, we, the filmmakers, also ended up in such festivals. The delegations were made up of 1-2 representatives of the institutions. of film who, of course, led the delegation and the authors of the selected films.
The selection was usually made from the country, but if you like a movie, the festival invites you with a new movie next year. It was a situation we all wanted because the authorities in the country were considering an invitation from outside; it would not be good not to accept the presence of a film or a director expressly requested by a festival…
Rereading some of my thoughts about the festivals of the time, written then, on returning from such a festival I realized that the "teachings" I was left with are, quite, current and today, that many of the writings refer to important films and -especially that! -, the atmosphere, the state that the lines release is precious and could be contaminated in the direction of what we call, simply, PASSION FOR FILM or RESPECT FOR ART .. So I thought that these thoughts can be useful and today, especially to film students and especially in an era in which film is increasingly seen as an "audiovisual product" and the actual production as a "film industry". So I gathered articles spread through "Cinema", "SLAST", Neue Literatur "," Contemporanul "," Almanah Cinema "and others and tried to offer a documentary review of the significant festivals of the time - those at which I had access to. I forced myself to keep, with all the risks inherent in looking at the distance for decades and from another world, this atmosphere of "warm" thinking that this "as it was then", even if it can arouse a smile ironically in the corner of the mouth can use by authentic; therefore, I have kept the names of the time (GDR, USSR, etc.) or some comments that, with the mind of now, I can see, otherwise… the state then is the important one…
And, who knows… can infect in love with the movie…
We need that unique state of mind, difficult to explain in words but the characteristic and unmistakable whose appearance is trying to be stimulated and which often already exists and is felt, consciously, as such, by many: the state of spiritual effervescence, the state of verve.
We need that place where everything is under the sign of MOVIE, of MOVIE ART, where you breathe film, where programmatically that's all you have to do, watch a movie, discuss a movie, comment on a movie, get contaminated and contaminate in turn with artistic thought and idea.
We need - perhaps this in the first place - what the formula "confrontation with the public" means (in its primary sense, the dusty one of too frequent use). We need to hear with our own ears the spontaneous applause (addressed to your film or that of your colleague) when the artistic thought (only the filmmakers themselves know how long polished) manages to reach the audience. We need to be there to feel, to understand that truth - at hand, but often forgotten - that a room does not mean, simply, publicly, that is, a table without precise contours hidden under a generic title; and as an audience it means a sum of distinct individualities, of personalities, of different people, a sum of consciousnesses, of souls and minds, which, here, for a moment, resonates in the same way, in the way that you, the director, thought , you wanted, you hoped. We also need to feel the unforgiving amendment of the same amount of consciousness when what you present was not believed because it was didactic, thesis, illustrative or incapable, professional or artistic. We need to feel (oh, how encouraging and stimulating this feeling is!) The audience's love for film. Let's know, let's find out once again, let's convince ourselves once again that he, the public, is with us and that our problems are neither foreign to him, nor
indifferent.
We need FESTIVAL. In the Festival, THE MOVIE IS ON HOLIDAY.
S.L.A.S.T IV / 36 (154) - September 2, 1984
In the era we are referring to today, the '80s, the festivals were few, and the possibilities to participate, especially abroad, at least in Eastern countries, in these HOLIDAYS OF THE FILM were even less, almost non-existent. That is why we felt, each of us, such an occasion as a great EVENT, we lived it with all our being and honored it. The professional results after such an event were also great precisely because he lived at high levels and each of us tried to "squeeze" from this experience everything that could be fruitful; for… you could not know when the opportunity arose…
With the help of UCIN, which did a lot at the time for the presence of Romanian film in festivals, the Sahia documentaries reached the same few competitions every year, especially in Eastern countries; but not only because "Romania had to be represented" in important competitions, it was part of party politics; and with the film, we, the filmmakers, also ended up in such festivals. The delegations were made up of 1-2 representatives of the institutions. of film who, of course, led the delegation and the authors of the selected films.
The selection was usually made from the country, but if you like a movie, the festival invites you with a new movie next year. It was a situation we all wanted because the authorities in the country were considering an invitation from outside; it would not be good not to accept the presence of a film or a director expressly requested by a festival…
Rereading some of my thoughts about the festivals of the time, written then, on returning from such a festival I realized that the "teachings" I was left with are, quite, current and today, that many of the writings refer to important films and -especially that! -, the atmosphere, the state that the lines release is precious and could be contaminated in the direction of what we call, simply, PASSION FOR FILM or RESPECT FOR ART .. So I thought that these thoughts can be useful and today, especially to film students and especially in an era in which film is increasingly seen as an "audiovisual product" and the actual production as a "film industry". So I gathered articles spread through "Cinema", "SLAST", Neue Literatur "," Contemporanul "," Almanah Cinema "and others and tried to offer a documentary review of the significant festivals of the time - those at which I had access to. I forced myself to keep, with all the risks inherent in looking at the distance for decades and from another world, this atmosphere of "warm" thinking that this "as it was then", even if it can arouse a smile ironically in the corner of the mouth can use by authentic; therefore, I have kept the names of the time (GDR, USSR, etc.) or some comments that, with the mind of now, I can see, otherwise… the state then is the important one…
And, who knows… can infect in love with the movie…
INSTEAD OF WORD FORWARD / 5
CHAPTER 1
THE GREAT WORLD OF SHORT FILM / 11
The state of verve (Leipzig '82) / 11
Anxiety (Leipzig '83) / 19
Leipzig - A complex and revealing picture of the world of 1985/26
Impressions… (Leipzig '85) / 34
In Leipzig, an exceptional edition (Leipzig '86) / 38
Changing weather (Oberhausen '85) / 44
Documentary film and the contemporary world (Oberhausen ’85) / 50
Old bets, new bets - (Oberhausen '87) / 55
Tourfilm ’83 / 63
CHAPTER 2
THE GREAT LITTLE HOLIDAYS OF OUR DOCUMENTARY / 67
A welcome confrontation (Herculane '84) / 68
Simple, human, joy of life / 70
A contemporaneity of this space (Contemporania ’88) / 76
An invitation to the cinema / 79
Crystal Cup ’86 / 83
Filmmakers - in "work clothes" Costinesti '83) / 90
What is festive, as the wave passes… (Costinesti ’83) / 93
Sun, sea and ideas - dialogue on the beach (Costinesti '83) / 95
Presence and authority (Costinesti '83) / 100
It is important that it exists (Costinesti '83) / 104
He. Festival… (Costinesti '84) / 109
“Documentary” comes from the document (?) (Costinesti ’84) / 112
Effervescence… (Costinesti '84) / 116
CHAPTER III
AFTER ’89 / 119
A dominant sensation: the world seeks (Istanbul ’98) / 121
CHAPTER 1
THE GREAT WORLD OF SHORT FILM / 11
The state of verve (Leipzig '82) / 11
Anxiety (Leipzig '83) / 19
Leipzig - A complex and revealing picture of the world of 1985/26
Impressions… (Leipzig '85) / 34
In Leipzig, an exceptional edition (Leipzig '86) / 38
Changing weather (Oberhausen '85) / 44
Documentary film and the contemporary world (Oberhausen ’85) / 50
Old bets, new bets - (Oberhausen '87) / 55
Tourfilm ’83 / 63
CHAPTER 2
THE GREAT LITTLE HOLIDAYS OF OUR DOCUMENTARY / 67
A welcome confrontation (Herculane '84) / 68
Simple, human, joy of life / 70
A contemporaneity of this space (Contemporania ’88) / 76
An invitation to the cinema / 79
Crystal Cup ’86 / 83
Filmmakers - in "work clothes" Costinesti '83) / 90
What is festive, as the wave passes… (Costinesti ’83) / 93
Sun, sea and ideas - dialogue on the beach (Costinesti '83) / 95
Presence and authority (Costinesti '83) / 100
It is important that it exists (Costinesti '83) / 104
He. Festival… (Costinesti '84) / 109
“Documentary” comes from the document (?) (Costinesti ’84) / 112
Effervescence… (Costinesti '84) / 116
CHAPTER III
AFTER ’89 / 119
A dominant sensation: the world seeks (Istanbul ’98) / 121
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