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ISSN 1409-6900 | UDK 82+7     Blesok no. 32 | volume VI | May-June, 2003



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                     Peer-reviewed journal
Blesok no. 32May-June, 2003
Gallery Reviews

Victory Above the Fear of Death

- the active and the passive principle in the (film) creation -


/5
p. 1
Viktor Kanzurov

     The idea for this text's title came to me while I've been watching this year's German non-English speaking Oscar nominee for The Best Film Nowhere In Africa, directed by Caroline Link. It isn't such a bad film, maybe somewhere between good and solid film, at some moments boring and too long, and it speaks about certain Jewish family, which, during the Nazi government in Germany leaves to Kenya. There happens the scene when some ill African woman is left to die under the open sky, and the white woman, the mother in the above-mentioned Jewish family runs out and cries out for the dying woman, wondering why is this woman left alone to her destiny. While the audience expects the scene to continue with the same sentiment and sorrow as it started, when the dying woman's daughter enters the scene and says to the European woman:

“Please, lady, let my mother die peacefully, she's just leaving this world – and she'll just go to Heaven, to the other world, that's all”. In that moment I realized how much our Western (Christian or Pseudo-Christian) civilization is burdened with the fatalistic fear of the Death, with the notion that the end of our (human) life is the end of the world and our existence, and accordingly to that, the emotions of sorrow, depression, melancholy and dissatisfaction gain in strength up to the aggression and violence…

From Depression to Action

      None of us wishes to see movies that bring us to unpleasant emotions. But, the real question is how much we've allowed to ourselves to go with the flow, and how much we've allow to such films – that aren't above the general average – to be meant as some great achievements.
    

     I think that it doesn't matter would be chosen as a subject for the film, but the way of transposing the subject and the film story into the film deed in general; that is what matters when we speak of the film emotion that will be revealed on the big screen as a final product. The people feed themselves on emotions and it's natural that everyone wants to achieve the maximum of his abilities, but how can one realize that with “producing” depressive and melancholic emotions – what means, if one writes, directs and produces such kind of films? That's the actual difference between the qualities and the artistic levels of






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