disturbed-imagination

[disturbed-imagination]

Ruška lutanja (Rose of wandering) - Osijek 60-ih i 70-ih

Šezdesete i sedamdesete godine su godine snažnog privrednog razvoja Hrvatske i Jugoslavije. Ljudi putuju, odlaze na privremeni rad u Njemačku, legalizira se devizna štednja, pojavljuju se časopisi, glazba i popularna subkultura pod utjecajem Zapada.

Industrijalizacija, izgradnja grada i proces urbanizacije imaju i svoje negativne posljedice - socijalne razlike i segregaciju, ekološke i zdravstvene probleme, ruralizaciju. Postoji niz infrastrukturnih i komunalnih problema, posebno nedostatak saobraćajnica, a pojavljuje se i problem bespravne gradnje.

Divlja naselja grade doseljenici, mahom radnici koji dolaze iz raznih krajeva zemlje, uobičajeno višečlane siromašne obitelji. Sele u potrazi za bolje plaćenim poslovima, lagodnijim životom i boljim uvjetima za školovanje djece, ali i zbog nestabilne agrarne politike. U divljim naseljima sanitarni i higijenski uvjeti nisu dobri, nedostaju vodovod i kanalizacija, česta je pojava zaraznih bolesti. Neka naselja još uvijek nemaju struje. Uobičajene su nestašice struje u čitavom gradu. Oko četrdeset posto od ukupne gradnje je bespravno.

Ulice su blatnjave, nema dovoljno rasvjete, puno je smeća, kante su pretrpane i pokidane - uslijed paljenja otpada oko njih su naslage prepela. Krupni otpad odlaže se u parkove i na gradilišta, kolnici i trgovi čiste se sustavno samo u centru grada, a čisti se metlom. 1967. velik broj ljudi još uvijek nema krov nad glavom. Osamdeset posto novopridošlih žena nema nikakvo zanimanje. Dolazi do takmičenja među sugrađanima, prvo za osnovnim uvjetima a zatim i materijalnim standardom. U porastu je delikvencija, ovisnosti, razvodi i dolazi do češćeg razvoja neuroza.

U centru grada stanovi se dodjeljuju samo po službenoj dužnosti. Kulturne institucije su grupirane u centru - kazalište, galerija, koncertna dvorana, knjižnica, dječje kazalište, kina. Repertoara ima, no posjećenost nije naročito dobra, možda zbog loše promocije, možda zbog slabih primanja dijela građana.

Kratki prilog o zabavnom i kulturnom životu 1968.

Urbanističko pitanje Osijeka bilo je značajna tema u koju se nastoji uključiti građane. Samo za primjer, '66. o planiranju se raspravlja i u kinima prije projekcija filmova.

Osijek 1965. ima 217 ulica, 1975. ima ih 313, od '72. do '75. izgrađeno je pet novih trgova što je povećalo broj trgova s deset na ukupno petnaest.

Gotovo polovica stanovništva Osijeka bila smještena u višestambenim naseljima i stambenim zgradama nastalima u periodu od 1957. do 1989. U tom razdoblju u grad je doselilo oko pedest tisuća novih stanovnika. Izgrađeno je oko četrnaest tisuća stambenih jedinica.

[disturbed-imagination]

Ruška lutanja (Rose of wandering)

AI simulacija (Runway)

I want to create a film that flows like a river, carrying out images like reflections on a water surface. And add voices that are giving context to the film, while sound and music are underlying the emotion of it. 

Crtice za izgled filma

1. crtica

U djetinjstvu sam znala uzbuđeno pogađati koje od udaljenih zvijezda koje gledam možda više ne postoje. Njihova svjetlost do nas putuje svemirom toliko dugo da dok informacije stignu, mi vidimo pradavnu prošlost. Jednako tako, slike događaja koji su se zbivali na Zemlji, prisutne su u titranju svjetlosti koja sada putuje svemirom. Da se mogu teleportirati na planet udaljen otprilike 460 trilijuna kilometara i uperiti gigantski teleskop-kameru prema Zemlji pod točnim kutem, u toj milisekundi dok svjetlost ne projuri dalje u svemir, možda bih mogla uhvatiti događaje koji su se zbivali prije 48 godina. Kako bi izgledala slika koja tako dugo putuje? Kakvo bi bilo njeno svjetlo i boja, njena oštrina i kvaliteta? Što bih vidjela? Što bih uopće mogla snimiti iz tog neobičnog položaja? Bih li se mogla približiti Zemljinoj svjetlosti toliko da raspoznam lice svoje bake ili možda čak glavicu maslačka? A ako uzmem nasumičnu fotku svemira, možda mogu reći da su u tom vrlo širokom planu dokumentirani svi događaji koji su se u vremenskom rasponu putovanja svjetla od izvora do objektiva desili u snimljenom prostoru.

Je li se negdje na ovoj fotografiji svemira zbio i Brijunski plenum iz 1966.?

2. crtica

Još jedna dječja fascinacija bila je spoznaja da se sva materija sastoji od atoma koji se kreću različitim brzinama. Mama mi je objasnila da niti jedna stvar na svijetu nije statična, a ja sam pomislila da to znači da možemo prolaziti kroz njih i da granice između stvari ne postoje i da mogu svojom voljom utjecati na to da se (moji) atomi uspore i prorijede pa ću, ako bude trebalo, lako proći kroz zid (i ne moram paziti hoću li izgubiti ključ od stana okačen na bockavu srebrnu vrpcu koju sam morala nositi oko vrata). Sada se čini nasumičnim takvo razmišljanje, no bila sam razočarana što ne mogu svojom voljom utjecati na kretanje atoma i mijenjati stanje stvari. Iako nemam pojma o fizici, ipak vjerujem i danas da na mikro razini stvari čuvaju informacije o prošlosti, o dodirima koje smo s njima imali. Da jednom kad posjetimo neko mjesto, naši tragovi zauvijek ostaju dio tog mjesta, da jednom kad jesmo, mi zauvijek jesmo.

Lijevo: mama i baka u zajedničkom dvorištu zgrade u Osijeku 1961. fotku ustupio Ivan K., desno: dvorište 23.01. 2024.

Osječka promenada ljeto 1963. i 25. 01. 2024.

/"Volim vas i nedostajete mi."/

3. crtica

Treća crtica je nešto kasnija fascinacija i odnosi se na način tretiranja svjetla u Rembrandtovom slikarskom pristupu: za razliku od svojih suvremenika koji su bjelinu platna koristili kao svjetlost što prosijava s podloge kroz lazurne nanose, aludirajući na transcendentalnost, Rembrandt je svjetlo tretirao gustim namazima ističući svjetlo kao materijal. Svjetlost na njegovim slikama ostavlja dojam titranja, ona razotkriva materijalnost predmeta, portreti više ne evociraju nedodirljive ikone već ljude od krvi i mesa, prizori čak i ako su sakralni ili mitski, groteskno su realistični s naglašenom dimenzijom propadanja. Ovjekovječen proces raspadanja ima sposobnost uznemiriti promatrača i poremetiti njegov komfor.

Gore: Rembrandtov autoportret vs Vermeerova Djevojka s naušnicom Dole: detalji

Čini mi se kako nešto od te nelagode osjećam dok gledam slike hrane u starim kuharicama. Tretmanom svjetla u slici postiže se njena kvaliteta, kako u slikarstvu, tako i u filmu.

Iz kuharice Dike Marjanović-Radice "Dalmatinska kuhinja"

4. crtica - eksperiment

Da bih svjetlost tretirala kao materijal u (digitalnoj) slici, trebam pronaći način u odnosu na sadržaj pojedine scene. Dojam svjetla kao materijala mogao bi se postići ponovnim projeciranjem odabranih snimki na teksturirane površine, kao i korištenjem različitih leća, zrcala i reflektivnih, polureflektivnih, transparentnih, mat površina, čvrstih, polučvrstih, tekućih ili kombiniranih. Jedna od mogućih metoda je i hvatanje procesa pojavljivanja slike na polaroid snimkama. U Osijeku smo živjeli u prizemlju zgrade i često sam prije spavanja promatrala kako farovi automobila u prolazu osvjetljavaju zidove i strop sobe. Sada zamišljam da se u sličnoj kretnji svjetala pojavljuju i nestaju slike.

U mojoj imaginaciji ovaj film teče poput rijeke - rijeke vremena. Voda je medij koji apsorbira i reflektira svjetlo vizualno stimulativno i privlačno s jedne strane i prijeteće, neobuzdano, mahnito s druge. Odbljesci periodično osvjetljavaju ponešto nejasne prizore koji se raspadnu u tami. Voda je element života (doslovno kao prapočetak života ili plodna voda), element smrti (utapanja) i prolaznosti i u tom smislu ima svoju ulogu u oblikovanju izgleda filma. Ne vide se rezovi, sve je sljepljeno u isto tkivo. Nerazdvojne su slike sjećanja, impresija, imaginarnih prizora.

referenca 1

referenca 2

- Reference za mizanscenu, kostim i druge vizualne elemente razmatraju se posebno, kao i reference za zvuk. Sličan pristup slici koristi se i u igranim i dokumentarnim scenama koje su uklopljene u vizualnu razradu. Za različite scene tražit će se specifičan izgled i pristup koji se definira kroz rad.

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Reference na scene iz filmova (kriza i fragilnost):

Rosetta: - Ti si Rosetta. Ja sam Rosetta. - Našla si posao. Našla sam posao. - Imaš prijatelja. Imam prijatelja. - Imaš normalan život. Imam normalan život.

Sarah: -...when I'm not broke, I usually have a bottle in my room... in which case I sleep very well, indeed. Eddie: - You talk kind of funny. But I like it. Sarah: - I used to be an actress. Eddie: - Yeah? What do you do now? Sarah: - I'm a college girl, two days a week. Eddie: - You don't look like a college girl. Sarah: - I'm the emancipated type, real emancipated.

Kargar-e Mozeh: - Imali smo razne nevolje. Toliko su mi dozlogrdile da sam odlučio da skončam sve. Jednog jutra, prije zore, stavio sam konopac u svoj auto. Odlučio sam. Ubit ću se. Uputio sam se za Mianeh. To je bilo 1960. Došao sam do voćnjaka dudova. Stao sam tamo. Bacio sam konopac na drvo, ali nije se uhvatio. Probao sam jednom, dvaput, bez uspjeha. Popeo sam se na drvo i čvrsto vezao konopac. Onda sam osjetio nešto mekano pod prstima. Plod duda. Ukusan slatki dud. Pojeo sam jedan, bio je sočan. Zatim drugi, pa treći. Odjednom, primjetio sam da sunce izlazi iznad planine. Kakvo sunce! Kakav prizor!

[disturbed-imagination]

Rose of wandering (references for the structure)

1. https://miguelabreugallery.com/12402-2/

2.

“Wilde attributes this joke to Carlyle: a biography of Michelangelo that would make no mention of the works of Michelangelo. So complex is reality, and so fragmentary and simplified is history, that an omniscient observer could write an indefinite, almost infinite, number of biographies of a man, each emphasizing different facts; we would have to read many of them before we realized that the protagonist was the same. Let us greatly simplify, and imagine that a life consists of 13,000 facts. One of the hypothetical biographies would record the series 11, 22, 33 . . . ; another, the series 9, 13, 17, 21 . . . ; another, the series 3, 12, 21, 30, 39 . . . . A history of a man's dreams is not inconceivable; another, of the organs of his body; another, of the mistakes he made; another, of all the moments when he thought about the Pyramids; another, of his dealings with the night and with the dawn. “ (Jorge Luis Borges on William Beckford’s Vathek)

3.

Primjer strukturiranja - bottom up pristup korišten u predprodukcijskoj fazi za Rušku lutanja

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LETTER TO UNKNOWN LOVER 26th of July, 2014. Hello dear, Hope your days are filled with joy and you are not missing anything. Hope you’re feeling loved, safe, well, strong, happy (as much as possible), and have somebody to talk and have fun with. I’m writing you from a small café on a city beach. I’m aware that sitting in a café writing you a letter is for loners. Well, I’m a loner sometimes. You may even think it’s an act of a desperate person. To be honest – I am desperate a bit. Life is so intense, so diverse, and so full of extremes and contradictions; it is not possible to have one clear emotion within me, as long as I’m aware. But as much as I feel desperation – I feel joy, as much as I feel sadness – I feel amazed by everything around me and still have appreciation for being alive and present and involved.  At times, when I feel my own passing more intense, like now, I just really miss you to share moments with you. Maybe it’s only because of the current mood, but I’m sure life with you would have better flavor and we could share some beautiful experiences together. Summer breeze is spreading along the seascape, blowing through the hair, gently tickling my face. A couple of tiny children are jumping into the sea, laughing and screaming, filled with pure pleasure and raw energy. I know you’d love to watch them play, but I’m sure, if you were here, we’d change the place to have our own adventures. World is a comfortable place and life is right now painless, simple and beautiful. It’s almost unimaginable there are any catastrophes anywhere at the moment. I like dreaming of you. I wonder where you are, what colour are your eyes, what is the date of your birth, in which town were you born. I wonder how you are. I wonder if you have a pet friend. I have a cat and she means a lot to me. Her name is Maša.

I wonder if you have enough food and fresh water and hope you are not a victim of any disaster; if you have parents and friends that care about you. I wonder if you are in good health.  If you are doing a job you chose and you are not involved in a corrupt system that doesn’t value your labor.

I hope that girls you like and love are treating you well and you are not suffering. But I know, even if you are going through hard times, you are strong enough to cope with it, and all the pain and trouble will eventually set up priorities for good, and there will be enough time for simple pleasures (before we die). I know you are smart, imaginative and creative and we can achieve great things together.

I wonder where and how we will meet. I’m really looking forward to that. I know we will immediately recognize each other and feel comfortable together, even if we are cautious in the beginning. I know we will not try to manipulate, dominate, play games or emotionally blackmail each other. I know you will not make me jealous or intentionally hurt me, disappoint me or compete with me. There will be no tension, coldness, walls, ignorance, emotional distance, hidden thoughts or disrespect for each other intimacy. I know you’ve been through the temptations bravely and remain pure and warm and capable to love and be loved.

There will be no time for bullshit.

We will be able to freely express our emotions and thoughts in a clear way, even if they are heavy. I know you will not judge me or mistrust if I work a lot. I know you will not avoid me because you feel fear of getting attached or refuse to develop deeper connection because of anxiety that things will not work out well, or your troubled past and previous wounds. I'm sure we all have one. 

Please don’t lose your patience too early and allow me some time before I open in front of you. I promise, if we meet in time that is difficult for you, I will not lose mine. We both deserve conditions where we can develop our emotional capacity fully, explore all sides of our nature, if necessary push the limits of it, but before all, we need to create situation in which we trust each other and take care of each other, no matter what. Our connection should make us stronger, more brave and confident as persons and give us enough space to grow as individuals.

[disturbed-imagination]

2. SCENE/interior/day The older man (70) takes care of his wife (70). They sit in a semi-dark room, almost in complete silence. The man rests his head on wife's shoulder. She slowly moves her hand and puts it on his cheek. Nothing is happening. From a distance, we can hear sounds reaching into the room from the basketball court.

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3. SCENE/exterior/day Group of guys (20 - 25) plays basketball. In the background of the playground bunch of local people is drinking beer and loudly arguing.

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4. SCENE/exterior/night Drunken man (40 – 50) tries to walk along the tracks / trench. He stumbles, falls, rises, stumbles again, fighting with gravity. We hear how he drags his feet on the ground, his difficult breathing, hiccups, slurs, angry murmur explaining something in his beard. (All is in feverish mood?) Finally he finds a bench and falls asleep on it. (It starts to snow?)

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5. SCENE/exterior/day It’s sunny (winter) morning. Ducks are swimming in the river which flows through the city. We can hear people passing by, screaming of children in play and Imams singing from a nearby mosque.

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6. SCENE/exterior/night Barefoot gypsy beggar (50 – 60) is slowly walking on the icy sidewalk of crowded street with an outstretched hand and speaks to passers asking for money. Group of girls (14 - 16) is crossing the street, made up for going out, minding only their own business. (They look carefree?)  

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7. SCENE/exterior/interior/day Somewhere through the hills and dense vegetation river flows. Long sound of branches cracking and its echo: a huge branch breaks off and falls into the river. Splash! The river carries it. Birds are singing. Switch to an empty hospital hallway. Sound of typing on the phone. Someone coughs. Distant ringing is heard.

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8. SCENE/exterior/day Three girls (14 – 15) are riding on rollers on the wide sidewalk near the river. They are pulling, pushing and hugging between themselves; laughing loudly and shouting one to another. Their hair flies in the wind.

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9. SCENE/exterior/day A man (60) repairs small ship on the seaside. The wind blows and disturbs his work. We hear the clatter of masts and ropes whimper while sea slaps the hips of the boats.

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10. SCENE/exterior/day The train passes through the countryside. Landscapes are changing: we see static shots of sea coast, forest, river, abandoned towns, houses, factories and devastated places. Sound of a train stretches through the whole scene and we hear a dialogue between two people: - Have you heard who hanged up himself? - Who? - Zoran's old man... ...He went one day to his wife and said he is fed up with life and he wants to kill himself. She said: go, kill yourself. So he did it. Zoran found him in the courtyard. After the dialog we can hear shot in the woods. Bird (duck?) falls and hits the ground.

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11. SCENE/exterior/day Dino is sitting on the same bench where drunken man fell asleep. He is calling very small cat offering her food chunks and finally puts it in his jacket pocket. Cat meows.

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12. SCENE/exterior/day Basketball playground is empty. Day is sunny and wind carries the leaves. Dino enters the picture. He sits near kiosk and chews his sandwich, while little cat is hanging from his lap.

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14. SCENE/interior/day An old woman (that was previously with her husband) now sits alone. We hear only monotonous buzz and completely silent clock ticking. The phone rings but she doesn’t respond. Light and shadow coming from the window are flashing, playing on the walls making beautiful picture.

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15. SCENE/exterior/day The man who was sleeping on a bench is now selling things at flea market. The radio is on and we can hear the local news. Crowd walks by, people are looking at the stuff but not buying.