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Festival filmskog scenarija |
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Screenplay Festival |
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Jedan od najznačajnijih segmenata Vrnjačkih kulturnih svečanosti je Festival filmskog scenarija, koji je za 26 godina postojanja, ostajući dosledan svojoj prvobitnoj ideji, bio dostojan dijagnostičar vrlina i mana i nezaobilazni hroničar na širokom prostoru scenaristike. U tom kontekstu, a u prilog raspravi imamo li mnogo filmskih festivala, treba dodati i ovo: Bilo ih mnogo ili ne, oni su svaki na svoj način doprineli afirmaciji jugoslovenske kinematografije, dali podršku njenom razvoju, učinili da ona, takva kakva jeste, zaboravi na mnoge probleme koji je prate. U korpusu takvih manifestacija treba sagledati i Festival filmskog scenarija. Sve je počelo 1974.godine posle polemike u filmskoj javnosti koja je obelodanila činjenicu da je scenaristika najslabija tačka domaćeg filma i da scenariju nije dato dostojno mesto. Nekako u to vreme u Banji je postojala smotra "Jugoslovenski igrani film u akciji", koja je imala i svoju stručnu tribinu na kojoj su učesvovali autori i protagonisti. Bio je to, na neki način, prapočetak Festivala. Te dve činjenice-kriza scenarija u jugoslovenskom filmu i postojanje filmske smotre u Vrnjačkoj Banji - bile su presudne za stvaranje pravog festivala, jasno esnafski profilisanog, jedinstvenog u svetu Festivala filmskog scenarija. Tako je u avgustu 1977.godine smotra "Jugoslovenski igrani film u akciji" (Prvi Festival je i nosio takvo ime) prerasla u festivalsku manifestaciju, tribina u simpozijum, uvedene su nagrade, formirani organi i Festival je rodjen. Inicijatori pokretanja Festivala bili su Kulturni centar Vrnjačke Banje, Udruženje filmskih autora i Udruženje filmskih glumaca. Neposredni inicijatori su bili Boško Rudjinčanin, Miomir Stamenković, Velimir-Bata Živojinović, Vasiljka Bogićević i Dušan Perković. Prvi festival održan je od 15. do 21.avgusta 1977.godine i taj termin (sredina ili početak druge polovine avgusta) osta je tradicionalan, osim 1989.godine kada je zbog pomeranja termina Festivala u Puli, Vrnjački Festival bio "premijerni" i održan na kraju jula meseca. Projekcije su održavane na Letnjoj pozornici (stari objekat) da bi od 1988.godine bile premeštene na novi Amfiteatar sagradjen na Crkvenom (Čajkinom) brdu. Specifično zamišljen i specifično ustrojen Festival filmskog scenarija nije bio nikome konkurencija i nije želeo da ispravlja ničije "nepravde" i "greške", naprotiv s jasnom koncepcijom i namerom odgovorno i sigurno išao je svojim putem, tretirajući scenario kao osnovu i bitni ključ filmskog stvaralaštva, vraćajući mu dostojanstvo koje je zaslužio. Time je izborio svoje značajno mesto u istoriji jugoslovenske kinematografije. Nije preterano reći da se od formiranja ovog Festivala o scenariju govori s većim poštovanjem i uvažavanjem nego do tada, a scenaristi dobijaju status ravnopravnih autora filma. Rezultati Festivala nisu ni mali ni skromni. Za 26 godina u takmičarskoj konkurenciji prikazano je 275 filmova, uz veliki broj kratkih, dokumentarnih, animiranih i video filmova u pratećem programu. Održano je 26 simpozijuma pretežno posvećenih scenarističkim problemima koji imaju dalikosežan značaj ne samo za smotru u Vrnjačkoj Banji već i za celokupnu domaću kinematografiju. Broj učesnika simpozijuma premašuje cifru od 600, a u arhivi Festivala ostalo je preko 4000 stranica stenograma njihovih izlaganja, od kojih je, formirajući svoju izdavačku delatnost, Festival u poslednjih nekoliko godina izdao par zanimljivih i korisnih knjiga ("Film kao ishodište", "Izazov ratnog filma", Izbor radova sa dosadašnjih simpozijuma).Na Festivalu su uvek dodeljivane četiri nagrade (prva, druga, treća i specijalna) a u vremenima kada je produkcija pa i konkurencija bila veća postojale su i nagrade za adaptaciju književnog dela, i najbolji dijalog. Grad domaćin je, takodje tradicionalno, dodeljivao i dodeljuje zlatnike za doprinos Festivalu, a od 1996.godine i Jugoslovenska sekcija medjunarodnog udruženja filmskih kritičara (FIPRESCI) formira žiri kritike i dodeljuje jednu nagradu. U radu oficijalnog žirija učestvuju najreferentnija imena jugoslovenske kinematografije. Uputno je na ovom mestu pomenuti dosadašnje pobednike Festivala filmskog scenarija: Pored zvaničnog takmičarskog programa, Festival filmskog scenarija uvek je imao i poneki značajan prateći program, novu "injekciju" koja ga je i u teškim trenucima, izazvanim opštom krizom u kinomatografiji i u društvu, vraćala u "igru" i činila specifičnom. Hronološki gledano možemo napraviti ovakvu klasifikaciju:
SIMPOZIJUM je jedno od retkih mesta gde se na razložan i miran način iznose mišljenja, sučeljavaju stavovi i vode rasprave na dostojanstven, seriozan i kulturan način. To je najstariji (uslovno) prateći program i traje od prvog Festivala neprekidno, postajući tako i zaštitni znak filmske smotre u Vrnjačkoj Banji. Ostaju zapamćena brilijantna uvodna izlaganja, kritička sučeljavanja, lucidna promišljanja, teorijske inovacije, nove ideje pre svega vezane za scenario, ali i za ukupno filmsko stvaralaštvo. Impozantna je i lista značajnih tema i referentnih uvodničara: Prvi festival (1977.) - "Kinomatografija bez scenarista" /Dragoslav Zira Adamović/, "Filmska dramaturgija i dijalog kao ideologija savremenosti" /Predrag Golubović/; Drugi festival (1978.) - "Estetska analiza filmova prikazanih na festivalu sa posebnim osvrtom na njihovu dramaturšku i scenarističku osnovu" /Dr.Milan Ranković/; Treći festival (1979.) - "Dramaturške razlike i sličnosti izmedju televizijskog i bioskopskog filma" /Vlasta Radovanović/ i "Mladi junak u jugoslovenskom filmu" /Radivoj Cvetićanin/; Četvrti festival (1980.) - "Timski rad na scenariju" /Vlasta Radovanović/ i "Timski rad na TV filmu i TV serijalu" /Gordan Mihić i Milovan Vitezović/; Peti festival (1981.) - "O odnosu istorijskog svedočenja i umetničke istine u filmovima o NOB-u i revoluciji" /Ivan Salečić/, "Dokumentarno u igranom filmu" /Predrag Golubović/, "Bioskopski i TV film sa gledišta dramaturgije " /Slobodan Novaković/ i "O modernom filmu i fabuli" /Gvido Aristarko/;
Šesti festival (1982.) - "Neka praktična iskustva u metodologiji stvaranja scenarija" /Filip David, Tihomir Jokić, Viktor Merješko i Stiv Tešić/; Sedmi festival (1983.) - "Igrani film kao svedok ili tumač vremena" /Dr.Prvoslav Ralić, Tone Frelih/ i Analiza scenarija filmova prikazanih na festivalu /Goran Marković i Endrju Horton/; Osmi festival (1984.) - "Savremeno shvatanje žanrovskog filma" /Božidar Zečević i Alen Korno/ i Analiza scenarija /Bogdan Tirnanić/; Deveti festival (1985,) - "Komercijalni talas u domaćem filmu" /Zorica Banjac/ i Analiza scenarija /Branko Baletić/; Deseti festival (1986.) - "Savremena adaptacija književnog dela za film" /Boro Drašković/ i Analiza scenarija /Nebojša Djukelić/; Jedanaesti festival (1987.) - "Scenario, predtekst za film, autorsko delo ili kolektivni čin /Filip David/ i Analiza scenarija /Blagoja Kunovski/; Dvanaesti festival (1988.) - "Moj rad na scenariju i njegova realizacija" /Sergej Livnjev i Božo Šprajc/, "Istorijska i umetnička istina u našem filmu" /Dr.Prvoslav Ralić/ i Analiza scenarija /Nikola Stojanović/; Trinaesti festival (1989.) - "Jugoslovenski film i cenzura" /Radoslav Zelenović/ i Analiza scenarija /Božidar Zečević/; Četrnaesti festival (1990.) - "Sličnosti i razlike izmedju TV i bioskopskog filma" /Slobodan Stojanović/ i Analiza scenarija /Dragan Belić/; Petnaesti festival (1991.) - "Književnost i film" /David Albahari/ i Analiza scenarija /Mihajlo Panzić/; Šesnaesti festival (1992.) - "Filmska i video produkcija, distribucija i eksploatacija, odnosi kinematografije i TV, novi oblici rada i autori" /Djordje Milojević, Slobodan Stojanović, Ranko Munitić/ i Analiza scenarija /Severin Franić/; Sedamnaesti festival (1993.) - "Filmski i TV izraz u filmskoj i TV produkciji" /Ljubomir Radičević/; Osamnaesti festival (1994.) - "Produkcija plasman i tržište filmova" i Analiza scenarija /Milan Vlajčić/; Devetnaesti festival (1995.) - "Dokumenti i fikcija - realna i umetnička istina u domaćem igranom filmu" /Božidar Zečević/ i Analiza scenarija /Nenad Dukić/; Dvadeseti festival (1996.) - "Evropska i holivudska dramaturgija i domaći film" /Nikola Stojanović/ i Analiza scenarija /Dinko Tucaković/; Dvadeset prvi festival (1997.) - "Uticaj dramaturgije TV spota na igrani film" /Dr.Petar Ljubojev/ i Analiza scenarija /Saša Radojević/; Dvadeset drugi festival (1998.) - "Film kao ishodište filma" /Srdjan Koljević/; Dvadeset treći festival (1999.) - "Izazov ratnog filma" /Srdjan Vučinić/; Dvadeset četvrti festival (2000.) - "Pisati za film, pisati filmom" /Živojin Pavlović/ Dvadeset peti festival (2001.) - "Scenarista u XX veku - izazovi novih tehnologija" Dvadeset šesti festival (2002.) - "U potrazi za izgubljenim Aristotelom - prevazilaženje ili smrt žanra Kao što je već rečeno, sve diskusije sa simpozijuma su stenografisane i stizale su na adrese scenarista, reditelja, filmskih radnika, studenata i ljubitelja filma, neka prvonagradjena scenarija i izlaganja sa simpozijuma objavljivao je i filmski časopis "YU film danas" kao i mnoge novine, časopisi, a uradjeno je i nekoliko TV emisija posvećenih temama sa simpozijuma. Formiranjem svoje izdavačke delatnosti i objavljivanjem prvih šest knjiga vezanih za izlaganja sa simpozijuma, Festival je načinio značajan korak na polju filmskog izdavaštva. Ugledna i priznata imena svetskog filma bila su gosti i učesnici simpozijuma: Na petom festivalu (1981.) Gvido Aristarko, poznati italijanski teoretičar i kritičar govorio je "O modernom filmu i fabuli", na šestom festivalu (1982.) oskarovac Stiv Tešić (SAD) i Viktor Merješko (SSSR) govorili su o njihovom radu na stvaranju scenarija, Endrju Horton (SAD), koscenarista filma "Nešto između" bio je gost sedmog festivala (1983.), o "Savremenom shvatanju žanrovskog filma" na osmom festivalu (1984.) govorio je gost iz Francuske Alan Korno, delegacija sovjetskih filmskih radnika Sergej Livnjev, Viktor Tjomin i Igor Andrejev učestvovala je u radu simpozijuma na dvanaestom festivalu (1988.), Irena Vasiljeva i Arkadijij Inin, takođe iz Rusije, bili su na petnaestom festivalu (1991.), a 1993.godine generalni sponzor Sedamnaestog festivala bio je nemački grad Baknang, čiji je gradonačelnik Paul Biber bio gost festivala.
KONKURS ZA ORIGINALNI SCENARIO Jedan od najvećih dometa Festivala filmskog scenarija je i konkurs za originalni scenario, koji je Festival raspisivao želeći da pospeši scenarističku produkciju i da, na neki način, kanališe vredne scenarističke radove prema producentskim kućama kako bi ovi bili i realizovani i pojavili se na filmskom platnu. Konkurs je prvi put raspisan na osmom festivalu 1984.godine a već na sledećem od velikog broja radova prispelih pod šifrom, žiri u sastavu Aleksandar Saša Petrović, Željko Kozinc i Tomislav Kurelec dodelio je II nagradu Jovanu Jovanoviću i Miroslavu Petroviću za scenario "Premijera" i dve treće nagrade - Veroslavu Rančiću za "Toplo sivilo sunca" i Srećku Jurdani i Goranu Tribusonu za "Priču o mostu". Na sledećem desetom festivalu 1986.godine žiri (Vatroslav Mimica, Tone Tršar i Boško Ruđinčanin) prvu nagradu dodelio je Dragovanu Jovanoviću za scenario "Momak protiv", drugu Slavku Lebedinskom i Milanu Jeliću za "Klavir kameleon" i dve treće nagrade - Veroslavu Rančiću za "Paukovu mrežu" i scenariju "Entuzijast" čiji se autor pod šifrom nije oglasio, pa tako nije ostao ni zabeležen u hronologiji Festivala. Vlasta Radovanović, Boro Drašković i Nikola Stojanović kao članovi žirija trećeg konkursa za originalni scenario dodelili su na jedanaestom festivalu 1987.godine nagrade scenarijima filmova "Sindrom A", "Prelomni trenutak" i "Vetar tamo negde", a poslednji put je konkurs bio raspisan za dvanaesti festival 1988.godine, kada su Zoran Tadić, Mirza Idrizović i Filp David kao članovi žirija tri ravnopravne nagrade dodelili scenarijima "Anafrodizija", "Diploma za smrt" i "Grožnjan". Prema nama dostupnim podacima od nagrađenih radova dva su realizovana kao igrani filmovi, a ovaj konkurs Festivala ostaje zapamćen kao značajna inicijativa čiji bi rezultati bili daleko značajniji da je bilo materijalnih dredstava koja bi pratila rezultate konkursa kroz realizaciju nagrađenih tekstova.
ZABRANJENI BEZ ZABRANE (FILMOVI IZ YU BUNKERA) Jugoslovenski filmski crni talas bio je godinama tabu tema. Do 1973.dodine u ondašnjoj Jugoslaviji proizveden je 431 film a zvanično sudski bio zabranjen samo jedan-omnibus "Grad" reditelja Kokana Rakonjca, Marka Babca i Živojina Pavlovića. Gledajući tako, tadašnje jugoslovensko društvo bilo je jedno od najdemokratičnijih na svetu. Međutim, u tadašnjoj jugoslovenskoj kinematografiji postojalo je četrdesetak filmova koji su po raznim osnovama, ali uvek bez zvanične zabrane i pisanih dokumenata, mrak bioskopskih dvorana zamenili mrakom filmskih bunkera, to jest na volšeban način nestajali na relaciji producent-distributer-bioskopi. Drugim rečima, nisu stigli do gledalaca. Veliku akciju vraćanja legitimiteta upravo takvim filmovima organizovao je Festival filmskog scenarija of 1987. do 1990.godine po ideji Radoslava Zelenovića. U tom periodu je po prvi put javno progovoreno o čitavoj seriji domaćih filmova koji su na razne načine bili sklonjeni od očiju javnosti. Tih godina imali smo priliku da se upoznamo sa "paralelnom istorijom" jugoslovenskog filma i da neke od tih filmova po prvi put pogledamo. Na jedanaestom festivalu 1987.godine prikazani su "Doručak s đavlom" i "Sveti pesak" Miroslava Antića, godinu dana kasnije na dvanaestom festivalu "Uloga moje porodice u svetskoj revoluciji" i "Slike iz života udarnika" Bate Čengića, koji je vidno uzbuđen prisustvovao projekcijama svojih filmova posle više od 15 godina, 1989.godine na trinaestom festivalu prikazani su "Delije" Miće Popovića i "Zaseda" Živojina Pavlovića, a te godine je održan i simpozijum na temu "Jugoslovenski film i cenzura". Akcija je završena 1990.godine zahtevom da se ukine presuda jedinom sudski zabranjenom filmu na prostorima bivše Jugoslavije, filmu "Grad" (koji je tada prvi put i prikazan na javnoj projekciji), što je sud u Sarajevu i učinio neposredno pred raspad zemlje. Tako u Jugoslaviji sada ne postoji ni jedan sudski zabranjen film, a možda najveća zasluga za to pripada upravo Festivalu filmskog scenarija. Sa ove vremenske distance ta pionirska akcija na Festivalu filmskog scenarija u Vrnjačkoj Banji otvorila je velika vrata za jedan čist obraz svih onih koji su, na ovaj ili onaj način, vezani za jugoslovensku kinematografiju jer, značajno je istaći, ovu akciju realizovali su isključivo filmski radnici, što svakako nije zanemarljiv podatak. Slične programe kasnije su realizovali i Studentski kulturni centar u Beogradu, festival Alpe adrija u Trstu i beogradski FEST, ali ostaje činjenica da se pionirskog poduhvata o toj, za to vreme itekako škakljivoj temi, poduhvatio Festival filmskog scenarija.
TV FILMOVI U KUNKURENCIJI I FESTIVAL TELEVIZIJSKE DRAME Raspadom SFRJ i neminovnim smanjenjem filmske produkcije, svi filmski festivali koji su ostali na prostorima SRJ našli su se u nezavidnoj situaciji i pred pitanjem kako obezbediti neophodni minimum programa. Isti problem je, naravno, imao i Festival filmskog scenarija te se 1993.godine odlučio na još jednu pionirsku akciju, otvarajući vrata televizijskim filmovima (televizija je u to vreme bila najveći producent), vrednujući scenarija tih dela, rađenih u elektronskoj tehnici, zajedno sa scenarijima igranih filmova. Iako je bilo mnogo polemika oko toga (ne samo na ovom festivalu) do 1996.godine takvi filmovi su ravnopravno učestvovali u festivalskoj konkurenciji i kao takvi bili direktan uslov opstanka mnogih festivala, pa i vrnjačkog. Vrnjačka Banja i njen filmski festival, kao što su prvi uveli u konkurenciju TV filmove, tako su 1997.godine učinili i korak dalje izbacujući ih iz konkurencije filmskog festivala, ali zato organizujući, zajedno sa Radio Televizijom Srbije smotru TV drama i filmova, odvojenu od Festivala ali direktno proisteklu iz njega. Radio Televizija Srbije, Kulturni centar i SO Vrnjačke Banje organizovali su 15. i 16.avgusta 1997.godine u hotelu "Zvezda" (koji je inače tradicionalno i festivalski centar) promotivni Festival TV drame na kome su premijerno bile prikazane drame rađene po delima Jovana Sterije Popovića "Pokondirena tikva" (Petar Zec), "Sudbina jednog razuma" (Milan Knežević), "Ljubav, ženidba, udadba" (Radomir Bajo Šaranović), kao i nove drame Jelice Zupanc "Naša Engleskinja" (Slobodan Radović), i Slobodana Stojanovića "Raste trava" (Petar Cvejić). U okviru smotre organizovan je okrugli sto "Retrospektiva i perspektiva TV drame", a bila je upriličena i kratka retrospektiva najuspešnijih dramskih ostvarenja. Godinu dana kasnije organizovan je od 12. do 15.avgusta 1998.godine Prvi međunarodni festival TV drame uz takmičarsko učešće TV drama iz Jugoslavije, Slovačke, Rusije, Bugarske, Rumunije i Makedonije. Prikazane su drame "Dosije 128", "Ne miriše više cveće", "Likvidacija", "Golubovića apoteka", "Nikoljdan 1901.", "Svirač" i "Britanski gambit" (Jugoslavija), "Dugo putovanje vozom" (Rumunija), "Prijateljstvo u jesen života" (Slovačka), "Ljubav" (Rusija), "Na Balkanu se ne pije čaj" (Makedonija), "Kad grom udari" (Bugarska). Uz prisustvo i učešće mnogih domaćih i stranih stvaralaca i poslanika televizije organizovan je i okrugli sto na temu "40 godina TV Beograd - programsko mesto i uloga TV drame", promovisane su nove serije TV Beograd "Porodično blago", "Više od igre II" i "Svaštara", a predstavljen je i kapitalni "Vodič kroz produkciju redakcije igranog programa TV Beograd od 1958. do 1995." autora Bojane Andrić. Raspisan je i konkurs za TV dramu (film). Više godina naši televizijski stvaraoci bili su iskljčeni iz kruga evropskih i svetskih televizijskih festivala. Prvi međunarodni festival TV drama uz učešće eminentnih stvaralaca iz Slovačke, Rusije, Bugarske, Rumunije i Makedonije bio je korak da se naši TV autori ponovo uključe u evropske umetničke procese i da se obnove prekinute niti saradnje.
LETNJA ŠKOLA FILMSKE DRAMATURGIJE Od 20.festivala filmskog scenarija (1996.) radi Letnja škola filmske dramaturgije, svojevrsna praktična radionica za mlade i buduće scenariste. Škola je pokrenuta sa ciljem da se studenti dramaturgije i režije i scenaristi početnici, u neposrednom kontaktu sa afirmisanim i iskusnim scenaristima, upoznaju sa metodom rada i iskustvom. To je praktična radionica na koju polaznici (uglavnom njih desetak) donose svoje radove (sinopsise i tritmente) o kojima se raspravlja. Ova škola ustrojena je po uzoru na slične kampove u Evropi i SAD (recimo festival "Sanders"). Sinopsisi mladih autora za celovečernje filmove bivaju analizirani u okviru rada i susreta sa eminentnim stvaraocima, koji spremaju osvrte i sugestije na radove polaznika. Polaznici škole su studenti Fakulteta dramskih umetnosti u Beogradu, Akademije umetnosti u Novom Sadu i niza filmskih škola iz Beograda. Idejni tvorci i medijatori škole su Slobodan Stojanović i Ljubomir Radičević, asistent Srđan Koljević, a svoje učešće u školi uzimaju svi prisutni scenaristi, tako da su polaznici bili u prilici da razgovaraju sa Srđanom Karanovićem, Slobodanom Šijanom, Gordanom Mihićem, Muharemom Pervićem...Moderator škole sada je Srđan Koljević. Ova škola proistekla je iz dugogodišnje saradnje Festivala sa visokoškolskim umetničkim ustanovama jer su studenti od samih početaka festivala uvek bili gosti i učesnici simpozijuma a sa svojim omnibus filmovima učestvovali u konkurenciji za nagrade. Mnogi od njih danas su istaknuti autori što Festivalu, u svakom slučaju, služi na čast. Prapočetak Festivala filmskog scenarija bila je, dakle, revija "Jugoslovenski igrani film u akciji". Tako se zvao i prvi Festival. Gledano sa ove vremenske distance taj naziv prilično je proročanski i indikativan za sve ono što se u nekim potonjim godinama dešavalo u Vrnjcima, jer nekoliko ideja iznedrenih za stolom simpozijuma a realizovanih u krilu Festivala bile su novine koje su mnogo značile za samu filmsku smotru u Vrnjačkoj Banji, ali i za čitavu domaću kinematografiju. Bile su to ideje koje su ostavljale uvek vidan trag, dajući Festivalu personalitet koji on održava skoro četvrt veka, porvrđujući tako njegov, makar i indirektan, uticaj na tokove nacionalne kinematografije.
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One of the most important events of cultural happenings in Vrnjacka Banja is the Screenplay Festival, which, during the 26 years of its existence and being consistent to its original idea, has been a worthy diagnostician of virtues and drawbacks and an unavoidable chronicler in the wide area of screenplay writing. In that context, and in addition to the discussion if we have too many film festivals, this should be added: no matter if there are too many or not, they all have contributed to the affirmation of Yugoslav film making, each in its own way; they have supported its development, make it forget all the accompanying problems, no matter what it has been like. In the wholeness of such events, one should observe the Screenplay Festival. Everything started in 1974, after a controversial discussion in film publicity, which revealed the fact that screenplay writing was the weakest point of the domestic film and that screenplay writing was not given a proper attention. Somehow, at that time, there was a film review called “The Yugoslav Feature Film in Action”, which had its professional panel discussion in which authors and protagonists took part. It was, in a way, the origin of the Festival. These two facts - the crisis of screenplay in Yugoslav film and the existence of the film review in Vrnjacka Banja - were crucial for the creation of the Festival itself, clearly guild profiled, unique in the world - the Screenplay Festival. That is how, in August 1977, the review “The Yugoslav Feature Film in Action” (that was the name of the first festival) grew over into a festival event, the panel discussion into a symposium, awards were introduced, management formed and the Festival was born. The initiative for the Festival creation came from the Cultural Centre of Vrnjacka Banja the Association of Film Authors and the Association of Film Actors. The immediate initiators were Bosko Rudjincanin, Miomir Stamenkovic, Velimir-Bata Zivojinovic, Vasiljka Bogicevic and Dusan Perkovic. The first festival was held from 15th to 21st August 1977, and that term (the middle or beginning of the second part of August) remained traditional, except in 1989, when, due to the term change of the Festival in Pula, the Festival in Vrnjacka Banja was a “premiere” and it was held at the end of July. Film viewing were performed on the Summer Stage (the old building), whereas from 1988, they were removed into the new Amphitheatre, built on Church (Cajka’s) Hill. Specifically conceived and organized, the Screenplay Festival is no competition to anyone, and it was not meant to solve anyone’s “injustice” or mistake; on the contrary, with its clear conception and intention, it went responsibly and safely its own way, treating screenplay as a basis and as an important key to film making, giving it back its deserving dignity. By doing this, it conquered its significant place in the history of Yugoslav film industry. It is not too exaggerated to say that since the creation of the Festival, Screenplay has been talked about with a greater respect and honour than before, and screenplay authors have been given the status of equal film authors. The results of the Festival are neither small nor modest. During the 25 years of competing, there were shown 275 films, along with a great number of short, documentary, animated and video films in the follow-up programme. There were held 26 symposiums, mostly dedicated to screenplay problems, having a long lasting importance not only to the review in Vrnjacka Banja, but also to the whole of the domestic film making. The number of symposium participants exceeds 600, and there were left over 4000 pages of their discussion taken in shorthand in the archive of the Festival, of which the Festival has, making its own publication activity, published a couple of interesting and useful books during last few years (“Film as a Way-out of Film”, “The Challenge of War Film”, A Selection of Works from Previous Symposiums). There have always been for awards at the Festival (the first, second, third and a special one), and in the times of greater production and competition, there existed awards for a literature did adaptation and for the best dialogue. Traditionally, the host town has awarded golden coins as a contribution to the Festival, and since 1996, the Yugoslav Section of the International Association of film reviewers (FIPRESCI) has formed a reviewer jury and awards one prize.
Chronologically speaking, a classification like this can be made:
SYMPOSIUM Is one of rare places where different opinions are presented in a reasonable and calm way, attitudes are brought face to face and discussions are held in a dignified, serious and cultural way. That is the oldest follow-up programme and it lasts from the first Festival continuously, thus becoming a symbol of the film review in Vrnjacka Banja. Brilliant introductory speeches, critical arguments, lucid thoughts, theoretic innovations, new ideas about the screenplay, and the whole of film industry remain unforgettable. The list of important themes and significant editorial writers is impressive: the First Festival (1977) - “Film Industry Without Screenplay Writers” (Dragoslav Zira Adamovic), “Film Dramaturgy and Dialogue as an Ideology of Contemporary Times” (Predrag Golubovic); the Second Festival (1978) - “an Aesthetic Analysis of the Films Shown at the Festival, with a Special Review of their Drama and Screenplay Basis” (Dr. Milan Rankovic); the Third Festival (1979) - Dramaturgic Differences and Similarities Between Television and Cinema Films” (Vlasta Radovanovic) and “The Young Hero in Yugoslav Film” (Radivoj Cveticanin); the Fourth Festival (1980) - “A Team Work on Screenplay” (Vlasta Radovanovic) and “A Team Work on TV Film and TV Serial” (Gordan Mihic and Milovan Vitezovic); the Fifth Festival (1981) - “On the Relation of Historical Witnessing and Artistic Truth in the Films on People’s Liberation Fight and Revolution” (Ivan Salecic), “Documentary in Feature Films”(Predrag Golubovic), “Cinemas and TV Films from the Point of View of Dramaturgy” (Slobodan Novakovic) and “On Modern Film and Plot” (Gvido Aristarko); the Sixth Festival (1982) - “Some Practical Experience in the Methodology of Screenplay Creation” (Filip David, Tihomir Jokic, Viktor Merjesko and Stiv Tesic); the Seventh Festival (1983) - “Feature Film as a Witness or Time Interpreter” (dr. Prvoslav Ralic, Tone Frelih) and “The Screenplay Analysis of the Films Shown at the Festival” (Goran Markovic and Andrew Horton); the Eight Festival (1984) - “Modern Understanding of Genre Films” (Bozidar Zecevic and Alen Korno) and “A Screenplay Analysis” (Bogdan Tirnanic);
the Tenth Festival (1986) - “A Modern Adaptation of a Literal Did for Film”(Boro Draskovic) and “A Screenplay Analysis”;
the Twelfth Festival (1988); - “My Work on the Screenplay and its Realization” (Sergej Livnjev and Bozo Sprajc), “Historic and Artistic Truth in our Film” (Dr. Prvoslav Ralic) and “A Screenplay Analysis” (Nikola Stojanovic); the Thirteenth Festival (1989) - “Yugoslav Film and Censorship” (Radoslav Zelenovic) and “A Screenplay Analysis”(Bozidar Zecevic);
the Fifteenth Festival (1991) - “Literature and Film”(David Albahari) and “A Screenplay Analysis” ( Mihajlo Pantic); the Sixteenth Festival (1992) - “Film and Video Production, Distribution and Exploitation, the Relationship Between Film Industry and TV, New Modes of Work and Authors” (Djordje Milojevic, Slobodan Stojanovic, Ranko Munitic) and “A Screenplay Analysis” (Severin Franic); the Seventeenth Festival (1993)) - “Film and TV Expression in Film and TV Production” (Ljubovir Radicevic); the Eighteenth Festival (1994) - “Production, Sale and Film Market” and “A Screenplay Analysis” (Milan Vlajcici); the Nineteenth Festival (1995) - “Documents and Fiction - Real and Artistic Truth in the Domestic Feature Film” (Bozidar Zecevic) and “A Screenplay Analysis” Nenad Dukic); the Twentieth Festival (1996) - “European and Hollywood Dramaturgy and the Domestic Film” (Nikola Stojanovic) and “A Screenplay Analysis” (Dinko Tucakovic); the Twenty First Festival (1997) -) - “Influence of the Dramaturgy of TV Spots on Feature Film” (Dr Petar Ljubojev) and “A Screenplay Analysis” (Sasa Radojevic); the Twenty Second Festival (1998) - “Film as the Way Out of Film (Srdan Koljevic); the Twenty Third Festival (1999) - “Challenge of the War Film (Srdjan Vucinic); the Twenty Fourth Festival (2000) - “To Write for the Film, to Write with the Film (Zivojin Pavlovic); the Twenty Fifth Festival (2001) - “The Screenplay Writer - Challenges of New Technologies”;
As already said, all the discussions from symposiums were taken down in shorthand and were sent to screenplay writers, directors, film workers, students and film admirers, some of the first prize-winning screenplays and symposium discussions were published in a film magazine called YU Film Today”, as well as many newspapers and magazines, and a couple of TV shows were made dedicated to symposium themes. By creating its own publishing activity and by publishing the first six books connected to symposium discussions, the Festival has made a significant step in the area of film publishing. Respected and recognized names of the world film were guests and participants at symposiums: at the Fifth Festival (1981) Gvido Aristarko, a well-known Italian theoretician and reviewer, spoke of “modern film and plot”, at the Sixth Festival (1982) Steve Tesic, an Oscar winner form the USA and Victor Merjesko (the USSR) spoke of their work on screenplay creation, Andrew Horton (the USA), a screenplay co-writer of the film “Something in Between” was a guest of the Seventh Festival (1983), a guest from France, Alan Korno, spoke of “Modern understanding of genre film” at the Eight Festival (1984), a delegation of Russian film workers, consisting of Sergej Livnjev, Viktor Tjomin and Igor Andrejev, took part in the work of the Twelfth Festival symposium (1988), Irena Vasiljeva and Arkadijij Inin, also from Russia, were at the Fifteenth Festival (1991), and in 1993, the main sponsor of the Seventeenth Festival was the German town of Backnang, which mayor Paul Biber was a guest of the Festival. OPEN COMPETITION FOR THE ORIGINAL SCREENPLAY One of the furthest reaches of the Screenplay Festival is also an open competition for the original screenplay invited by the Festival, wishing to stimulate screenplay production and to, in a way, direct valuable screenplay works towards producers, in order to be made and to appear on film screen. The open competition was invited for the first time at the Eight Festival in 1984, and already at the next Festival, from the works sent under codes, a jury consisting of Aleksandar Sasa Petrovic, Zeljko Kozinc and Tomislav Kurelec, gave the second award to Jovan jovanovic and Miroslav Petrovic for the screenplay “The Premiere” and two third awards, to Veroslav Rancic for “The Warm Greyness of the Sun” and to Srecko Jurdani and Goran Tribuson for “A Story of a Bridge”. At the next, the Tenth, Festival in 1986, a jury (Vatroslav Mimica, Tone Trsar and Bosko Rudjincanin) gave the first award to Dragovan Jovanovic for the screenplay of “A Boy Against”, the second to Slavko Lebedinski and Milan Jalic for “Piano Chameleon” and two third awards, to Veroslav Rancic for “The Spider’s Web” to the screenplay of “The Enthusiast”, which author under a code did not show up, so he remained unrecorded in the chronology of the Festival. Vlasta Radovanovic, Boro Draskovic and Nikola Stojanovic, being the members of the jury of the third open competition for the original screenplay, gave awards at the Eleventh Festival in 1987 to the screenplays of the films “Syndrome A”, “A Turn Over Moment” and “The Wind There Somewhere”, and the last time the open competition was invited for the Twelfth Festival in 1988, when Zoran Tadic, Mirza Idrizovic and Filip David, jury members, gave three equal awards to the screenplays of “Anaphrodisia”, “A Diploma for Death” and “Groznjan”.
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In accordance with the records available to us, of the awarded works, two were used for feature films, and this Festival open competition will be remembered as a significant initiative, which results would have been far more important if there had been sufficient funds to back up the competition results through filming the awarded texts. BANNED WITHOUT A BAN (FILMS FROM THE YU BUNKER) The Yugoslav film black wave was for years a taboo theme. Until 1973, in former Yugoslavia, there were made 431 films, and officially only one was banned - the omnibus “City” by directors Kokan Rakonjac, Marko Babc and Zivojin Pavlovic. From that point of view, the Yugoslav society of that time was one of the most democratic ones in the world. However, in the Yugoslav film industry of that time, there existed around forty films, which, on various grounds and always without a legal ban, exchanged the darkness of the cinema with the darkness of film bunkers, that is, they disappeared mysteriously on the way: the producer - distributor - cinemas. In other words, they did not reach the spectators. A considerable activity of giving back the legitimacy to these films was performed by the Screenplay Festival from 1987. to 1990. in accordance with the idea by Radoslav Zelenovic. In that period, it was for the first time spoken in public on the whole series of domestic films which had been, in various ways, removed from the public eye. These years, we had an opportunity to get to know the “parallel history” of Yugoslav films and to see for the first time some of those films. At the Eleventh Festival in 1987, there were shown “Breakfast with the Devil” and “Sacred Sand” by Miroslav Antic, a year later, at the Twelfth Festival, “The Role of my Family in the World’s Revolution” and “Pictures from the Life of an Outstanding Worker” by Bata Cengic, who was noticeably excited when took part in showing his films after more than 15 years. In 1989, at the Thirteenth Festival, there were shown “Strong Men” by Mica Popovic and “Ambush” by Zivojin Pavlovic, and that year, there was held a symposium on the subject of “The Yugoslav Film and the Censorship”. The action was completed in 1990 with a request for abolishing the sentence to the only legally banned film in the region of former Yugoslavia, the film “Grad” (which was then for the first time shown in public), which was actually done by the court of Sarajevo, immediately before the country split up. Thus, there is not a single banned film in Yugoslavia, and probably the greatest contribution for that belongs to the Screenplay Festival. From this time distance, that pioneer action at the Screenplay Festival in Vrnjacka Banja has opened a grand door for the honour of all those who have, in one way or another, been connected to the Yugoslav film industry, because of the fact that this action was performed exclusively by film workers, the fact which by no means should be neglected. Similar programmes were later realized by the Students’ Cultural Centre in Belgrade, Festival Alpe Adrija in Trieste and FEST in Belgrade, but the fact that this pioneer mission on that subject, a very unfavourable one for that time, was performed by the Screenplay Festival.
TV FILMS IN COMPETITION AND THE FESTIVAL OF TELEVISION DRAMMA By the split of former Yugoslavia and by the consequent decrease of film production, all film festivals that remained in the region SR Yugoslavia got in an unenviable position and faced with the question how to maintain a minimum of the programme. The Screenplay festival faced the same problem, so in 1993 another pioneer action was started, opening its door to television films (television was the biggest producer at that time, evaluating the screenplays of those works, done in electronic technique, together with the screenplays of feature films. Although there was much disagreement about that (not only in this festival), those films took an equal part in festival competition until 1996, and as such, they provided the survival of many a festival, including ours. Vrnjacka Banja and its film Festival, apart from being the first to introduce TV films into competition, made a step forward in 1997, taking them out of film festival competition, but also organizing, together with Serbian Radio and Television, a review of dramas and films, separated from the Festival, but a direct creation out of it. Serbian Radio and Television, the Cultural Centre and the Community of Vrnjacka Banja organized on 15th and 16th August 1997 at the Zvezda Hotel (being traditionally the centre of the Festival) a promotional Festival of TV Drama, where were shown for the first time the dramas done by the works of Jovan Sterija Popovic “The Stuck-up Woman” (Petar Zec), “The Destiny of a Mind (Milan Knezevic), “Love, Marriage” (Radomir Bajo Saranovic), as well as new dramas by Jelica Zupanc “Our English Woman” (Slobodan Radovic) and Slobodan Stojanovic “Grass Grows” (Petar Cvejic). Within the review, there was organized a round table and TV drama perspective, and there also was a short review of the most successful drama works.
A year later, from 12th to 15th August 1998, the First International Festival of TV Drama was organized, with a competitive taking part of TV dramas from Yugoslavia, Slovakia, Russia, Bulgaria, Romania and Macedonia. There were shown the dramas “File 128”, “Flowers do not Smell any More”, “Liquidation”, “The Golubovics’ Pharmacy”, “Nikoljdan 1901.”, “Musician” and “British Gambit” (Yugoslavia), “A Long Travel by Train” (Romania), “A Friendship at the Autumn of Life” (Slovakia), “Love” (Russia), “Tea is not Drunk in the Balkans” (Macedonia), “When a Lightening Strikes” (Bulgaria). With the presence and participation of many domestic and foreign creators and workers of television, there was organized a round table on the subject of “the 40 years of TV Belgrade - a programme place and role of TV drama”, there were promoted new serials by TV Belgrade called “A Family Treasure”, “More than a Game II” and “A Scrapbook”, and there was presented a capital “Guide through Production of the Feature Programme Editorial Staff of TV Belgrade from 1958 to 1995” by author Bojana Andric. There was announced an open competition for TV drama (film).
For many years, our television creators were excluded from the circle of European and World television festivals. The First International Festival of TV Dramas, with the participation of eminent creators from Slovakia, Russia, Bulgaria, Romania and Macedonia, was a step for our TV authors to be included again into European artistic processes and to renovate the broken links of collaboration.
THE SUMMER SCHOOL OF FILM DRAMATURGY Since the 20th Screenplay Festival (1996), there has worked the Summer School of Film Dramaturgy, a unique practical workshop for young and future screenplay writers. The school was started aiming that the students of dramaturgy and directory and screenplay writers - beginners, in an immediate contact with recognized and experienced screenplay writers, get to know the work method and experience. It is a practical workshop where the participants (mostly about ten of them) bring their works (synopsises and treatments), which are discussed. This school was organized on the models of similar camps in Europe and the USA (for example, the “Sundance” Festival). The synopsises by young authors for feature films are being analysed during the work and meetings with eminent creators, who prepare reviews and suggestions on beginners’ works. The School participants are students of the Drama Art University from Belgrade, the Academy of Arts from Novi Sad, and a number of film schools from Belgrade. The idea creators and mediators of the School are Slobodan Stojanovic and Ljubomir Radicevic, assistant Srdjan Koljevic, and all the present screenplay writers take part in the School, so that the participants had an opportunity to speak to Srdjan Karanovic, Slobodan Sijan, Gordan Mihic, Muharem Pervic… The School moderator is Srdjan Koljevic at the moment. This School originates from a long-term collaboration of the Festival with high school art institutions, for their students have always been guests and participants of the symposium since its beginning, and symposium participants, with their omnibus films have taken part in the competition for the prizes. Many of them are recognized authors nowadays, the fact that, anyhow, honours the Festival. The beginning of the Festival was, therefore, a review called “The Yugoslav Feature Film in Action”. That was the name of the first Festival, too. Observed from this time distance, that title was a prophetic and indicative one for everything that happened in the following years in Vrnjci, for some of the ideas conceived at the symposium table and realized in the Festival’s lap, were the novelties that meant a great deal for the film review in Vrnjacka Banja itself, but also for the whole domestic film industry. Those were the ideas that have always left a visible trace, giving personality to the Festival that has taken place for a quarter of a century, confirming thus its, although indirect, influence on the flows of the national film industry. |
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