Perturbations of Slovenian Cinematography
Maša Guštin
masa.gustin@ug.edu.plUniversity of Gdańsk (Poland)
https://orcid.org/0000-0002-5968-1854
Abstract
Slovenian cinematography developed clearly after 1945, when the socialist state began building structures of the new Yugoslav cinematography, and the Central Committee of the League of Communists of Yugoslavia decided about everything that concerned the film world. In the 1950s and 1960s, under the wings of the Triglav Film studio, many films were made that were successful and are today considered classics of the Slovenian film. Slovenian cinematography at that time experienced a renaissance on the institutional level: in Ljubljana a film library operated, the film magazine “Ekran” [“Screen”] was published, the Film and Television Directing Department was opened, the Slovenian Film Archive was established. In the 1970s, the films were showing social criticism and the problems of the individual on the brink of collapse. The 1980s was a difficult period characterised by an economic and political crisis; video cassettes that competed with Hollywood films and TV shows also appeared. Nevertheless, the first “independent” film created outside of the main production structures was created, a breakthrough point in the liberalization of Slovenian cinematography. After regaining the independence, the Republic of Slovenia assumes responsibility for subsidizing film production, which is largely created by a new generation of directors focused on the problems of the present and the transformation period.
Keywords:
Slovenian CinematographyReferences
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Authors
Maša Guštinmasa.gustin@ug.edu.pl
University of Gdańsk Poland
https://orcid.org/0000-0002-5968-1854
Wykładowca (adiunkt) w Katedrze Slawistyki na Wydziale Filologicznym Uniwersytetu Gdańskiego. Absolwentka komparatystyki i slawistyki (filologia rosyjska) na Uniwersytecie w Innsbrucku. Specjalizuje się w temacie kina rosyjskiego, jugosłowiańskiego i postjugosłowiańskiego, ze szczególnym uwzględnieniem okresu transformacji, oraz kina zaangażowanego. Autorka książki Kino w mieście. Miasto w kinie. Petersburska twórczość filmowa w czasie transformacji (2018).
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