Projekcije filmova Pjera Mereškovskog u Srbiji/Films of Pierre Merejkowsky

 

Četvrtak, 28. jun, 19:00, Mala sala DKSG

Dom kulture Studentski Grad, Bulevar Zorana Đinđića 179, 11070 Novi Beograd
Теl: +381 11 3191 108 Моb: +381 62 267 843

Naš gost – PJER MEREŠKOVSKI (Pierre Merejkowsky), Pariz

režiser, scenarista, glumac, kompozitor, tonski snimatelj

Učestvuju Nina Živančević i autor

Razgovor vodi Miroljub Stojanović

 I deo – projekcija kratkih filmova Mereškovskog

  • BILA JEDNOM JEDNA EKOLOGIJA (Il été une fois ecologie), 12 min. 
  • LE CASTING, 1min.

II deo- razgovor s autorom i projekcija dugometražnog LJUDI PROROCI (Les hommes prophetiques),108 min.

Petak, 29 jun, 19:00 Parobrod,

Kapetan-Mišina 6a, Beograd  Tel +381 11 4142163

  • Dugometražni film ČTO DELAT /Que Faire

         koktel

Utorak, 3 jul, 20:00 Kinoteka, Beograd

Kratkometražni filmovi

  • POST VIEW 4 min, IN REGARDS TO Eric P.,6 min., i THERE WAS ONCE ECOLOGY (Il était une fois l’écologie) 12 min.

Dugometražni film

  • MALI RAT, 50 min. praćeno komentarom autora o njegovom filmu i savremenom francuskom filmu

 

 

Petak, 6 jul, 19:00 Muzej Savremene Umetnosti Vojvodine,

Dunavska 37, Novi Sad, Telefon:+381 21 526634

Dugometražni film

  • ČTO DELAT (Que Faire) i
  •  kratkometražni: IN REGARDS TO ERIC P. 6mn, DAWN 8mn,  POST VIEW 4 mn, THERE WAS ONCE ECOLOGY 10 mn  engleski titl 

Kratak komentar postprodukcije. Učestvuju Nina Živančević-Mereškovska i Autor

 

 

Nekoliko reci o PJERU MERESKOVSKOM

Uvek je tesko govoriti o bliskim osobama jer ono sto coveku prvo padne na pamet dok govori o nekom bliskom moze da bude vrlo banalno- ako bi me neko pitao sta sam ja naucila od Pjera Mereskovskog a sta mi prvo pada na um je uzasna radna disciplina koja je verovatno njegovo rusko nasledje, a tu je mozda i kljuc za delo njegovih predhodnika, pisca Dimitri Mereskovskog i Zinaide Ksipius, njegove bake i velike ruske pesnikinje koji su gotovo ceo zivot, nakon Ruske revolucije proveli u izgnanstvu. Ono sto je zanimljiv momenat jeste da su oni pobegli od Boljsevika, i od Lenjinovog komunizma, da bi mu se Pjer vratio kao veliki francuski autor i reditelj, militant levice koja se granici sa verom u individualno “ja”, stvaralastvom autora anarhiste.

A onda, ceo Pierov rad na filmu, oko 50 produkcija do danas, koji se zasniva ne samo na Godarovom nasledju, Godar njegov veliki ucitelj i inspiracija, ali tu su i  skole velikih ruskih prethodnika- LJUDI PROROCI kao i CTO DELAT ili Mali Rat su filmovi radjeni pod znakom Ajzenstajna, Medvedkina i Brehtovog teatra. Za Merezkovskog snimanje je pre svega metod preispitivanja slike, CTO djelat sa slikom? On preispituje publiku kao i temu, pravi sadrzaj filma, sto predstavlja tehniku blisku Brehtovoj metodi uspostavljanja objektivne distance. U CTO DELAT kao i kasnije u LJUDIMA PROROCIMA Maoisticki metod ankete ili preispitivanja bio je baza za stvaranje kinematografije  koja je bila u stanju da prikaze kontradiktornosti u svakodnevnoj stvarnosti koju je prikazivala. Ova kinematografija se bori protiv naturalizma, istovremeno pokusavajuci da odbaci ideju da je snimanje neke  revolucionarne akcije dovoljno po sebi da bi takav film nazvali “revolucionarnim”. Od pocetka svog filmskog opusa Mereskovski se zanimao za razlicite nacine  koji bi publici ne samo okupirali gledalacku paznju vec i koji bi ih drzali stalno u stanju angazovane aktivnosti ponavljajuci tvrdnju da je ambijentalni naturalizam neka vrsta drustvene igre koju igra drustvo  da bi nas nateralo da prihvatimo njegove postulate. On to cini, u procesu rezije, verovatno imajuci Brehtov postulat na umu koji tvrdi  “da nista ne bi trebalo smatrati prirodnom pojavom u smislu da bi svaka pojava ili dogadjaj mogli da postanu predmet drustvene promene”.

Jedna od aleatornih tehnickih metoda ponavljanja u  filmu je kvalitet zvuka koji se pretvara cesto u kakofoniju razlicitih glasova i razgovora. Na primer cesto se javlja asinhronican zvuk u filmu koji nas navodi da se zapitamo kako u potrazi za “radnickom istinom” reditelj dolazi do asinhronicnog zvuka. Mozda, ako kazemo da je ovaj zvuk proizvod tehnickog ogranicenja koji je posledica ekonomskog ogranicenja pri snimanju, opazamo da je proizveden neki drugi efekat koji se ne tice iskljucivo estetskog kvaliteta u filmu vec koji ima veze sa filmskom politickom akcijom koja zeli da ukine naturalizam i trudi se da probudi kriticku distancu  u citaocu. Prisustvo ovakvog zvuka u filmu dovodi nas do pitanja koje vecina militantnih filmova nakon 1968 postavlja u procesu rezije-: kako cemo zabeleziti na filmskoj traci marginalizovani ili cesto priguseni govor koji je negde zabelezen i koji verovatno nesto znaci? Odgovor Mereskovskog  nije jednostavan- on nas navodi da verujemo da takva vrsta prigusenog govora ne nastaje slucajno vec je prethodno konstruisan, usiljen i stalno u traganju za odredjenom sinhronizacijom.

Mereskovski ili kako ga kolege zovu “Merez” cesto insistira na trebljenju slika van njihovog obicnog i prirodnog konteksta da bi ih smestio u odredjeni millieux i specificni istorijski kontekst. Ako pod datim svetlom iscitavamo njegov film CTO DELAT pomislicemo da je reditelj “u sluzbi” revolucije, marksizma i radnicke klase, isto kao sto  kod Lindzi Andersona, donekle kod Slezingera  ili Andree Arnold  Merezove generacije, gledaoci veruju da gledaju nesto iz odredjenog kolektiva odredjene klase; pa opet, glas reditelja/snimatelja/ autora ce se glasno pobuniti protiv odrednica poput “beo” ili “crn” gde nema dublje mozda “politicki nekorektne” analize.

Moralno-pedagoska lekcija  dovodi reditelja do ludila i on od nje bezi. Svaka vrsta eksplicitnog politickog komentara, kao i formalno pribegavanje Brehtu, Ajzenstajnu, Vertovu i drugim ruskim pobratimima dovodi ga do ludila, kao sto ga i svaki naturalizam izludjuje , bilo kom kulturno-politickom periodu da pripada. Mozda je i to nasledje francuskog novotalasnog filma koje se nije plasilo Mao Ce Tunga i Che Gevare. U ovakvom pristup filmu podvlace se jasne crte izmedju takozvane intencije autora u pogledu filma koji pravi, izmedju kriticke recepcije publike i interpretacije filma. Tradicionalnom begu od naturalizma Mereskovski dodaje svoje strategije- on nam ne samo otkriva nacine koriscenja svojih tehnika , uvodeci pritom prolazne posmatrace (slucajni prolaznik Zerara Fromanzea i Brace Dimitrijevica) u svoj film, uvodeci takodje ideju (koja bese napustena od strane boraca protiv naturalizma) da film moze biti veran nekoj istini, da od istine ne treba bezati i ako je posmatraci ne cuju, da je treba nekoliko puta u tekstu ponavljati, variranjem jacine glasa od povika do sapata..

Merezovi filmovi su neka vrsta preseka formalnih strategija jer za njega film kao umetnost predstavlja pre svega pokusaj koji se krece ka vizuelnoj polifoniji (pri ovom zadatku  su mu muzicko obrazovanje i trening kompozitora  neizmerno korisni). Njegov film najcesce (ovde je akcenat na «  najcesce ») kombinuje militantni dokumentarac, epsko pozoriste, polifoniju glasova, neorganski i organski pristup tekstu, strategije komunikacije, genericka i formalna pomeranja oduhovljene slike , direktan  pastis  postmodernog francuskog  filma kao i veliku Sovjetsku skolu Ruskog formalizma.

 

Nina Zivancevic-Mereskovskaja

 

Few words about Merejkowsky Pierre

It is not easy to talk about the people we feel close to, whatever we say may appear banal- if somebody has asked me what I had learnt from Pierre Merejkowsky and that it does not appear banal is a very harsh working discipline and that probably goes way back to his Russian herritage, the very thing may be the key for understanding the work of his predecessors, the Russian writers Dimitri Merejkowsky and  Zinaida Xippius, who lived their whole life in exile. What’s really interesting is that they escaped the Bolsevics, Lenin’s Communism so that Pierre, as a French author and film director could only get back to it; he’s a militant of the Left which borders on the belief in the individual “I” which characterizes the creativity of an anarchist autor.

And the we have the entire Pierre’s work on film, some 50 films until today, work which is not only founded on Godard’s heritage, as Godard was his great teacher and inspiration, but in his film work we also find the schools of his Russian film predecessors: Merejkowsky’s films such as MEN PROPHETS , QUE FAIRE (CTO DELAT) and Small War , are films which come out of the schools of Eisenstein, Medvedkin but also Brecht’s theater as well. For  Merejkowsky the shooting as a procedure in film means, above all , the investigation of IMAGE, or “CTO DELAT”(what to do) with the image. He’s investigating the image as much as he investigates the theme,the real subject of the film,  the technique close to Brecht’s method of establishing  the objective distance.  In his own CTO DELAT as much as later in MEN PROPHETS, the Maoist enquette or the investigation was the base for creating the cinematography  able to show the contradictions in the contemporary reality which these contradictions tried to explain. This cinematography fights against naturalism as much as it tries  to reject the idea that the shooting of a revolutionary action per se is enough for us to call such film a revolutionary one. From the start  Merejkowsky was interested in different ways in which he could not only draw the public’s attention to the film, but also in the ways in which one could keep the spectator in the state of permanent active engagement. He had been repeating the fact that the naturalism of the athomsphere and landscape is more of a social game which society plays in order to make us accept their postulates. He entamed his own directing process probably thinking of Brecht who once said that “nothing could be considered a natural fact  as such,this is in order that we treat each phenomenon as something natural and  a potential subject to a new social change as well.”

One of Merejkowsky’s aleatory technical methods is the method of repetition which, when it comes to the treatment of sound in his films , brings us to the cacophony of different voices and sounds. For instance, there is often a asynchronic sound in the film which makes us often wonder as to how  the director who searches for the “worker’s truth” ,comes to the phenomenon of the asynchronic sound. Maybe we can understand this phenomenon, if we say that this sound is the product of the limitations imposed by the technicality which was further imposed by the economic limitations on the film; in his films we can also observe that as the spectators we have arrived  at something which is not only at some aesthetic effect . It is not only of the aesthetic nature but this effect  became a certain political action seeking to abolish naturalism, at the same time trying to awake the critical distance in the spectator. The presence of such sound in the film brings us to the question which most militant films after 1968 : how to record the inaudiable or often marginalized speech which is somewhere hidden but probably means something else? The answer of Merejkowsky is not very simple: he makes us believe that this type of faded speech is not a by-product but that it was carefully constructed prior to the shooting of the film; as such, it is constantly in search of a certain synchronization.

Merejkowsky or, as his friends simply call him “Merej”, often insists on the pruning of the images and placing them out of their natural context so that he would place them into their specific millieux or a specific historic context.  If we read in such light his film CTO DELAT  we are to think that the director is in the service of the revolution, marxism or workers’ class, the way we read it with Lindsay Anderson, Schlesinger or Andrea Arnold,( the director who is more of Merej’s generation). The spectators believehere that they watch the scenes which belong to a certain class millieux, however, the director/author/technician is likely to rebell against our labeling of the scenes; “are they “black” or “white” are they “politically correct” or incorrect? “

The moral and pedagogical lesson drives the director insane and he escapes from it. Any sort of politically ouvert commentary as much as the formal treatment of it by running towards Brecht, Eisenstein, Vertov or any other Russian cousin- drives him insane; any escape towards naturalism drives him insane, no matter which cultural or political period  it belongs to! Perhaps that fear belongs also to the heritage of the French New Wave, the films which were not afraid of the influence of Mao Ce Dung and Che Guevara. In such “political attitude” film there is a strong line drawn between the so called author’s intention and the critical reception of the public viewing this film; there is also the line drawn between the author’s work and the possible critical interpretation of the film. To the already traditional escape from naturalism Merejkowsky adds his own strategies : he not only directly shows us the manner of using his strategies, the one of introducing the casual passers-by (as Fromanger or Braco Dimitrijevic in their art work), but he also introduces the idea (formerly abandoned by the naturalists) that a film can serve some higher truth. We should not escape from the truth and if the spectators cannot see it or hear it we have to repeat this truth in the script, and vary the tonality of the actor’s voice from a very loud to a whisper.

Merejkowsky’s films are taking a form of the formal strategies as for him the film as art means above all other things- an attempt which moves to the visual poliphony (and in this respect the musical training and composer’s education come in handy for his  art). His film often combines (here we should underline the word « often ») militant documentary, epic theater, poliphony of the voices, organic and non-organic approach to the script, the strategies of communication, the generic and formal shifts of the spiritual image , the direct pastiche of the postmodern French cinema as well as the heritage of great Soviet school of Russian Formalism.

 

Nina Zivancevic-Merejkowskaya

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