| Title | Režija kratkometražnog dokumentarnog filma “Protiv vremena” |
| Author | Nino Šoštarić |
| Mentor | Kristijan Milić (mentor) |
| Granter | VERN University Zagreb |
| Defense date and country | 2024-10-28, Croatia |
| Scientific / art field, discipline and subdiscipline | FIELD OF ART Film Art (Film, Electronic and Media Art of Moving Pictures) |
| Abstract | Iako film Protiv vremena ima sve elemente dokumentarnog filma i prati protagonisticu u njezinim realnim situacijama, u domu, u automobilu, u vrtu, rekonstruirajući realne situacije, ipak su pojedini segmenti igranog karaktera. Riječ je o sekvencama iz
emisije Vrtlarica čija je autorica protagonistica filma Kornelija Benyovsky Šoštarić. To
su igrane sekvence koje su korištene kompilacijski kako bi se prikazala javna stana privatne osobe. Na sličan način realiziran je i završetak filma koji prikazuje sanjanje, odnosno fikciju, što nije karakteristično za klasičan dokumentarni postupak. No iako se ovdje radi o miješanju žanrova, spomenute sekvence kombiniraju se sa dokumentarističkim vrlo suptilno, bez gubitka realiteta. U tom smislu slijedile su i upute protagonistici, kojoj je zbog prirode njezinog posla ponašanje ispred kamere svakodnevan posao. Kako bi se naglasila razlika između voditeljice TV emisije i privatne osobe, glavni dio filma odvija se u automobilu. Na taj način protagonistica, inače naviknuta na obraćanje kameri, gleda isped sebe, fokusirana na vožnju, kao u nekoj vrsti monologa. Time je isključena svaka subjektivnost snimatelja/redatelja koji je prati na suvozačkom mjestu. O pojmu vremena iz različitih aspekata doznajemo kroz razmišljanje protagonistice ali i kroz režijske postupke, a posebno slow motion kadrovima koji naglašavaju tijek i prolaznost putovanja, ali i vremenskih situacija kao što je snježna mećava. Zvučna
slika također je u funkciji isticanja emocija ili pojedinih situacija. Naglašavanjem
zvukova u pojedinim sekvencama ističe se važnost pojedinih sitauacija ili emocija. Osim što nas filmovi dokumentarnog karaktera upoznaju sa događajima, osobama ili prirodnim fenomenima, mogu nositi i odoređene poruke, zaključke i ideje. Ovdje je riječ o svojevrsnom apsurdu, gdje osoba koja se bori protiv vremena u svim
aspektima života uspijeva zaustaviti vrijeme tek u meditativnom snu. Time se gledatelju ostavlja prostor za promišljanje o svojevrsnoj “utrci života” u kojoj se može
identificirati sa protagonisticom ali i potencijalno zaključiti kako i kada zaustaviti vrijeme u vlasitom životu. |
| Abstract (english) | Although the film Against Time has all elements of a documentary film and follows the
protagonist in her real situations, in the home, in the car, in the garden, reconstructing
real situations, some segments have fictional character. These are sequences from
the show Vrtlarica, whose author is the protagonist of the film Kornelija Benyovsky
Šoštarić. These are acted sequences that were used in a compilation to show the
difference between the public and private person. In a similar way was realised the
ending of the film which shows dreaming or fiction, which is not characteristic of a
classic documentary process. But even though this is a mixing of genres, the
mentioned sequences are combined with the documentary elements very subtly,
without losing reality. In this sense instructions for the protagonist, for whom, due to
the difference between the host of a TV show and a private person, the dominant part
of the film takes place in the car. In this way the protagonist, normally used to
addressing the camera looks behind her, focused on driving, as in some kind of
monologue. This excludes any subjectivity of the cameraman/director who follows her
in the passenger seat.
We learn about the concept of time from different aspects from the protagonist, but
also through the director’s actions, especially the slow motion shots that emphasise
the flow and transience of the journey, as well as weather situations such as a
snowstorm. The sound image also has the function of highlighting emotions or certain
situations. Emphasizing the sound in certain sequences highlights the importance of
specific situations and emotions.
In addition to the fact that documentary film introduce us to events, people or natural
phenomena, they can also carry certain messages, conclusions and ideas. In this film
it is a kind of absurdity, where a person who fights against time in all aspects of life
manages to stop time only her her meditative dream. This leads space for the viewer
to think about kind of “rice of life” in which someone can identify with the protagonist,
but also potentially conclude how and when to stop time in his own life. |
| Language | croatian |
| URN:NBN | urn:nbn:hr:146:674194 |
| Study programme | Title: Film and Television Directing and Producing Study programme type: professional Study level: graduate Academic / professional title: magistar/magistra filmske i televizijske režije i produkcije (magistar/magistra filmske i televizijske režije i produkcije) |
| Type of resource | Software, multimedia |
| Access conditions | Restricted access |
| Terms of use |  |
| Created on | 2024-12-13 15:46:33 |
