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ISSN 1409-6900 | UDK 82+7     Blesok no. 34 | volume VI | September-October, 2003



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                     Peer-reviewed journal
Blesok no. 34September-October, 2003
Gallery Reviews

Sorrow for Guerreνικα

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p. 1
Robert Alagjozovski

“Dust”, written and directed by Milčo Mančevski, camera by Barry Ackroyd, edited by Nick Gaster, music by Kiril Dzajkovski, cast: David Venham (Luke), Adrian Lester (Edge), Rosemary Murphy (Angela), Joseph Fiennes (Elijah) Anne Brochet (Lilith), Vlado Jovanovski (The Teacher), Nikolina Kujaca (Neda), Salaetin Bilal (the Turkish officer)

A small theoretical framework

Thinking over what a theoretical–analytical frame should I give to this study, I decided for the classical Barthesian (post)structuralist dichotomy – work/text – since I hold that’s the most adequate way to explain my positions and solve my dilemmas related to the movie. According to this, a generally accepted point of view in the theory is that the text, or the intratextual reality, is an order of signs generating a meaning. That’s the one material and non–material side which, in the movies, in particular, starts from the opening shot sequence, the credits and cast and goes all the way to the closing  cast (quite often the credits and cast also, i.e. the frames of the text, intextualize, with their displacing, the absence, their way of presentation, the visually–typographic styling and together with the other segments they generate meanings that are essential to the text. The work is a product of this contextual, subtextual, extratextual instance that overlooks, analyzes, contextualizes the text, selects and defines its meanings, gives judgements, gives it a line, impoverishes it or enriches it. The work is created by the tension of the pragmatic axle, the relation – author (the team working on the movie including the producers) – text – recipient (the critic or the scientist as a special, privileged recipient of the art work). The text, although is materially finished and given, on the meanings it generates or can generate, it’s open, unstable, multivalent; and the work feigns stability, judgements, situating, materialization of the established meanings and values of the text, and can be changed, though not so often, with every new reading of the text and its transformation i.e. turning into a work.

Work (Sorrow for Guerreνικα)

The reception of the movie, at least as the reporters say, divided the recipients into two gangs: the one that liked the movie and the one that didn’t like the movie. I would put myself in a new gang: among those who both liked and disliked the movie i.e. who neither liked nor disliked the movie. I have to admit that the rigorousity i.e. the extension






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