Razno

[scab]

FUCK!

[steins]

FUCK!

šta je ovo???

[scab]

šta je ovo???

Izvinjavam se! Kada sam postavljao linak, department of justice ga je zatvorio sa sve onim da ce platiti sa $2.000.000 i 10 godina zatvora...

[notenoughreasonsforclaire]

Pervić u "Trezoru":

Četvrtak, 18.08.2011 In Honorem - Muharem PervićMuharem Pervić, književni i pozorišni kritičar (Humići kod Ključa 11. april 1934 - Beograd 29. jul 2011). Osnovnu školu i gimnaziju završio je u Zrenjaninu, a diplomirao na Katedri za svetsku književnost u Beogradu. Književni rad započeo u "Studentu", kao glavni urednik od 1956. do 1958, a onda stupa u Redakciju časopisa "Delo" gde je posle dve godine postavljen za glavnog i odgovornog urednika. Započeo je seriju pozorišnih kritika u "Mladosti" 1958, a redovnu pozorišnu kritiku objavljuje u "Politici" od 1966. do kraja sedamdesetih. Autor je više ogleda i studija o pozorištu, književnicima i društvu; redaktor "Sabranih dela Ive Andrića"; priređivač antologije rodoljubive poezije "Ljudi". Glavna dela: knjige Tradicija i kritika, Pripovedanje i mišljenje, Premijera, Svitak po svitak, Volja za promenom, Crveno i skriveno i druge. Za svoja dela dobio je više nagrada i priznanja, a izdvajamo Povelju za životno delo Udruženja književnika Srbije 2005. i Nagrada iz fonda "Todor Manojlović" za moderni umetnički senzibilitet za 2007. godinu. U Televiziji Beograd je od 1979, Odgovorni urednik Dokumentarnog programa od 1980, Glavni i odgovorni urednik Kulturno-umetničkog programa od 1982. do 1990. godine. MOŽE LI TELEVIZIJA DA MISLI - naslov je kratkog eseja o televiziji koji je Muharem Pervić napisao za knjigu fotografija i zbornik tekstova "TV Lica " Ljubinka Kožula, a "Trezor" je sačinio vizualizaciju tog teksta. U toj istoj knjizi objavljena je fotografija, snimljena krajem osamdesetih, na kojoj Muharem Pervić, Vasilije Popović, Slobodan Stojanović i Filip David sede na jednoj tašmajdanskoj klupi, pa smo zamolili Filipa Davida, dugogodišnjeg urednika Dramske redakcije TVB da nam protumači ovu fotografiju. Sledi deo iz 27. epizode serije Vreme televizije (1998) u kojem Muharem Pervić govori o TV seriji Kako se kalio čelik i ostalo koju je na osnovu njegovog teksta režirao Goran Paskaljević, a čije su sve epizode posle emitovanja, polovinom sedamdesetih, obrisane.* Proizvedeno 2011, Redakcija za istoriografiju HRONOLOGIJA IZ TREZORA - izbor intervjua i izjava Muharema Pervića sačuvanih u Programskom arhivu TVB: o Hamletu Petra Kralja na Dubrovačkim letnjim igrama, 1967; Pervić prima nagradu "Đorđe Jovanović" za najbolju knjigu eseja i kritika, 1977; za seriju Među nama, Pervić govori o Ljubinki Bobić, 1989; o komediji od Nušića do danas na Festivalu komedije u Jagodini, 1999; o Beketu i komadu Srećni dani za ciklus Pedeset godina čekanja Godoa 2003; za Obelisk (2007) odgovara na pitanja Branke Krilović o vlastitim i svetskim vrednostima, o mentalnom buvljaku, o životu..* Proizvedeno 2011, Redakcija za istoriografiju BRANKO MILJKOVIĆ - emisija iz serije Petkom u 22. Muharem Pervić, Milosav Buca Mirković i Božidar Timotijević govore o Branku Miljkoviću i njegovim delima, a Branimir Brstina kazuje stihove i komentare pesnika.* Učesnici: Muharem Pervić, Milosav Buca Mirković, Božidar Timotijević, Branimir Brstina* Reditelj Milan Peca Nikolić, urednik Mila Kostić* Premijerno emitovano 14.03.1986, Redakcija programa iz kulture, urednik Zora Korać

[Hippie]

vako je juce izgledala ulica kojom prolazim svakog dana :D http://www.youtube.com/watch?v=iOF6Pe8tr4s

Edited August 17, 2011 by Hippie

[kim_philby]

howard feinstein napustio sarajevski filmski festival.

When Celebrity Overwhelms Auteurs: Howard Feinstein on Resigning From the Sarajevo Film Festivalby Howard Feinstein (August 16, 2011)At the Sarajevo Film Festival, Angelina Jolie accepted her award at a gala ceremony at the same time that Howard Feinstein hosted a Q&A with Oscar-winning director Susanna Bier. According to Feinstein, every photographer snubbed the Bier event in favor of Jolie's. Jolie photos courtesy festival website; Bier/Feinstein photo by Nebojsa Jovanovic; collage by Dana Harris.We’re publishing Howard Feinstein’s first-person piece on his reasons for resigning from the Sarajevo Film Festival with the caveat that we’re not taking sides; there’s two for every story and here only Howard has the floor. (We’ve extended an invitation to the Sarajevo Film Festival for their take on events.) However, the issue of celebrities impacts every film festival.—The EditorsWhy I Left my Heart in Sarajevo: The Schizophrenia of Film FestivalsDaddy always said I was a quitter. He was uneducated, a champion Golden Gloves boxer and proud salvageman in Texas who lunged for his goals without detours. On account of his hard work, I had more choices at my disposal and prematurely abandoned Boy Scouts, United Synagogue Youth, B’nai B’rith Youth, Pi Lambda Phi, pre-med, and architecture, ending up first a film academic, then a critic. But I believe that he would not have condemned me for resigning as an international programmer three weeks ago after 13 years at the Sarajevo Film Festival.Management’s unrelenting quest for celebrity actors - and I know that their appearance is a reality of the festival world and the sponsors and media who support it - began to spin out of control, so much so that it infringed on my principle goal: to present the best and/or most original films revealing a singular vision from around the globe that had had their premieres over the previous year. As much as I respect what thespians do, my heart belongs to directors. A dream job became a nightmare.Why am I writing about what could be construed as an internal problem? Because it is not: The issues that led me to resign are endemic to festivals worldwide. Two tasks of film festivals that render them rather schizoid - wrangling stars and providing high-quality cinema - is something that needs to be balanced, or they run the risk of crassly catering to the rich and famous while showing merely mediocre films; or of having a roster with galas for mediocre movies with B- and C-list stars to satisfy journalists and staring locals. (Eric Kohn’s recent indieWIRE interview with Locarno director Olivier Pere suggests that that festival has become more balanced by adding some big stars to supplement its fairly esoteric fare.)It doesn’t need to be like this: No matter which celebrities appear, the New York Film Festival is always first and foremost about the films themselves, as is Torino. Cannes and Venice get name performers but, Janus-faced, are able to remain showcases for esoteric fare. Deauville, on the other hand, unapologetically emphasizes American stars. Most festivals occupy, uncomfortably, the gray zone in between.I curated two strands at Sarajevo: Tribute to…, a retrospective of a contemporary filmmaker, who presented one or two of his or her works daily, ending with a public career interview I conducted; and Panorama, a selection of about 25 fiction features and docs for which the filmmakers frequently came and interacted with the viewers. Both programs attracted a large, loyal following. I honestly think that their popularity stems from my having selected alone, without a committee or restrictions.This year, however, the heads of the festival, Miro Purivatra, the director, and his wife, Izeta Gradevic, the creative director, suddenly began to restrict my choices. Interference is anathema to a programmer. The following examples might help explain.Tribute To…I invited the great Serbian director Oleg Novkovic to be the subject of a second tribute (after Argentine filmmaker Lucrecia Martel, the main honoree). I had done this combination of an international director (Abel Ferrara) with a regional one (Bela Tarr) before, at Purivatra’s request. But they nixed Novkovic. They kept changing the reasons, but it was clearly payback because he had pulled his most recent film, White White World, from last year’s regional competition in favor of Locarno. At the suggestion of the festival’s programming coordinator, I added White White World to Panorama. The management, who brought my guests this year alone from countries like Uruguay and Mexico, refused to pay his air fare—from nearby Belgrade.PanoramaAt 12 noon and 6 pm daily, I showed films from Panorama in the state-of-the-art Meeting Point cinema. (The 3 pm slot was reserved for the Tribute.) The 9 pm screening time was the most desirable. The film was projected outdoors, in the large atrium of a functioning fire station called Vatrogasac, with old stucco walls heightening the soundtrack. I selected the films based not only on their aesthetic merit, but on their ability to push spectators to stretch their minds and senses.The festival directors have always chosen more accessible films based on the availability of “talent” to wave at the crowd for their much program, called “Open Air,” which takes place in a much larger outdoor space. We never before competed; in fact, we occasionally showed some of the same titles. This year deemed certain titles from Berlin and Cannes unavailable for my Panorama, the kind of films that would have always been possibilities in the past—just in case someone might end up available to stand before the throngs and smile.Someone was going to come from the Dardenne brothers’ “Kid With a Bike”? Of course not. I had to salvage it from the scrap bin. I had to fight to include in Panorama “The Guard,” which had been earmarked as the closing night selection for Open Air should Brendan Gleeson or Don Cheadle become available. Through the Irish producer, an old friend, I invited them and the director, John Michael McDonagh, the only one I cared about. Purivatra, who was only interested in the performers, gave his blessing. Only McDonagh came and, unbelievably, management wanted to keep him only for the Open Air screening, so he could blow kisses. I had to fight to have him do a Q & A with the Panorama audience. This is that murky area in which cult of (perceived) celebrity and the qualitative characteristics of selections overlapped in a negative way.The celebrity craze reached its climax, though, just before the Open Air screening of The Guard. At the closing ceremony inside the National Theater, Purivatra presented a last-minute honorary Heart of Sarajevo award to Angelina Jolie, in town to direct her very first (as yet unfinished) feature, based on the rape camps run by the Bosnian Serbs during the 1992-95 genocide.Simultaneously, for Panorama’s closing night presentation in the packed Vatrogasac, less than 10 minutes’ walk away, I was doing an onstage Q & A with veteran Danish filmmaker Susanne Bier, a proven director and humanitarian who had been honored with the Best Foreign Language Film Oscar earlier this year, about In a Better World (a Bosnian premiere). It had taken me four years of effort and interviews to get Bier to come. Jolie was, of course, mobbed by cameras. For Bier, there was not a photographer in sight. In the past, there had always been photographers sent to that event, alerted by the festival’s press office.A fate similar to Bier’s befell Martel, even though the cinema was completely full for all of her screenings (three features and two shorts), with people sitting on the steps and floor. Virtually no photographers, not even for the annual career interview, which had always been filmed and its honoree photographed. No matter that her presence for the Tribute was a real coup for the festival. I find it symptomatic that their neglect followed the receipt of my letter of resignation three days into the festival. But also, taking into account the festival’s initial unwillingness to invite McDonagh, I, sometimes incredibly naïve, knew that directorial talent would increasingly take second billing to star wattage.Before the war, Sarajevo was famed for its multicultural lifestyle and sophisticated arts scene. One Bosnian, a longtime Panorama attendee, commented on the downward spiral. “The Sarajevo Film Festival’s red carpet placed in front of the National Theater runs through Susan Sontag Square. (Sontag had frequented Sarajevo during the war, where she mounted productions.) The irony of Angelina’s triumph at Sontag Square illustrates the shift in Sarajevo’s cultural life toward celebrity culture and spectacle.” He paused, then added, as if having a sudden revelation, “It just may be symptomatic that the opening of Sarajevo’s first McDonald’s coincided with the opening of the festival.”Jolie is well represented on the festival’s website, but there is little evidence of anything from the Tribute or Panorama. According to a well-known Sarajevan pundit, “The eradication of fact is an example of strategies from the autocratic system of the Communist past that have not only survived but been redeveloped in post-socialist Bosnia.” It’s as if Panorama, Tribute to, and Howard Feinstein had never existed.My guess is that this is atypical of film festivals in general, though each has its own demons. Most are built on a corporate or nonprofit-arts model, which allows room for disagreement, or at least debate. In the case of the Sarajevo Film Festival, which is owned privately by Purivatra, a rigid organizational template prohibits constructive transformation. As in the time of the Communist dictator Marshall Tito, an inflexible top-down hierarchy is the norm. No one makes waves. Well, no Bosnian makes waves.I had considered leaving several times over the years, but always thought of the audience and changed my mind. They were passionate about the tributes, many of them first-ever complete ones, to such great directors as Mike Leigh, Alexander Payne, Tarr, Todd Haynes, Jia Zhang-ke, Ulrich Seidl, Bruno Dumont, Tsai Ming-liang, Peter Mullan, Ferrara, and of course Martel. The spectators strongly supported the intentionally unpredictable Panorama, for which I brought such filmmakers as Darren Aronofsky, Michael Winterbottom, James Marsh, Lisandro Alonso, Carlos Reygadas, and Jafar Panahi. But this go-round, I decided to think first of myself: Why do this once the joy had begun to dissipate from the extensive labor of programming?The focus on regional films at the Sarajevo Film Festival is, and should remain, first and foremost. My hope is that bringing Sarajevo’s problems with films from outside its orbit out into the open might help nudge priorities in a direction that would serve it and its culture-hungry spectators well—and, to be frank, aid in maintaining a legacy I can be proud of.So, what do you think? We want to know your take on the role of celebrities at film festivals; tell us in the comments.

[notenoughreasonsforclaire]

Jebiga, pri kraju ovogodišnjeg Festivala su počele glasine o njegovom odlasku, al' sam sve nešto mislio da će ipak ostati. Šteta. Strašan & strastven je to čovek.

[kim_philby]

Jebiga, pri kraju ovogodišnjeg Festivala su počele glasine o njegovom odlasku, al' sam sve nešto mislio da će ipak ostati. Šteta. Strašan & strastven je to čovek.

interesantna i gotov neverovatna mi je ova purivatrina pizma na olega

[Killiana]

British director Sir Ridley Scott is to make a new instalment of his 1982 cult sci-fi Blade Runner, producers have announced.

zaaaaasto

[Hippie]

snimila skrulla u obliku policajca :D http://www.youtube.com/watch?v=2nyyHnXX7z4

[korindjar]

strava!

[hattori]

stop pirateriji!

[Hippie]

misis stop spoilerima :D neverovatno sta sam sve ufatila ovom sirotom kamericom... posle ovog snimka chu dobro da razmislim sta pustam u javnos

[Sludge Factory]

Fellini's FateA New Film Pursues the Mystery Behind the Influential Director’s Last Comic TaleFilmmaker Chelsea McMullan’s emphatic new short documents the surreal myths surrounding Federico Fellini’s infamous unmade film Il Viaggio di G. Mastorna Detto Fernet (The Journey of G. Mastorna called Fernet), the story of a man living unknowingly in the afterlife. The avant-garde director described the project as his life’s curse, and legend has it that a magician once told Fellini that if he made the picture, it would be the last thing he ever did. Premiering at September’s Toronto Film Festival, Deragliamenti (Derailments)––an exclusive edit of which we present above––explores the tribulations surrounding the prospective movie and the La Dolce Vita director’s decision to produce the metaphysical tale as a comic strip with artist Milo Manara instead. “Manara saw himself as a vehicle through which Fellini could rid himself of the negativity,” explains McMullan. “The comic is less a visual adaptation of the film and more Fellini coming to terms with the approach of death.” In an eerie fulfillment of the magician’s prophecy, Il Maestro passed away six months after the publication of its first installment, making the comic strip the final project he ever worked on. We talked to McMullen about the enduring influence of the legendary Italian.What did you find intriguing about the story of the curse surrounding Il Viaggio?As filmmakers we use narrative to structure our thoughts and feelings, it gives us control over things we can’t explain. That’s why the curse is so fascinating. It had the ability to stifle Fellini from making the film.Did you worry about the curse affecting you while making the documentary?I had a bad accident riding my bike home one night and I remember lying on the pavement thinking that this was an extension of the curse. After that I started to be really paranoid. I think I was just living the story, which in way is a good thing, but it didn’t do much for my mental health.You interview Manara in the documentary. Did he have any interesting insights into working with Fellini?We conducted the interview in his studio in Verona. Manara explained he and Fellini would often go for dinner to discuss the project, and inevitably Fellini would start sketching his ideas on a napkin. Eventually Manara pulled out a drawer full of a thick pile of them, soiled with Bolognese, wine and olive oil. On each one was a faded sketch, some quite elaborate, others just faded lines, all hand drawn by Fellini. Did Fellini see comics as being as important a medium as film?Fellini considered and approached comics exactly as he did films. Visually, by using stills instead of moving images, Manara’s collaboration with Fellini acts as a bridge between comics and cinema. What is it that still makes Fellini relevant today?His films deconstruct every facet of popular culture in a single film: religion, paparazzi and celebrity. Fellini had the unique ability to be incredibly playful and dark at the same time. He placed the audience in a room full of funhouse mirrors and told them to look at themselves.

[Hippie]

koj bude gledo Osvetnike sledeche godine, imache prilike da vidi takozvani lounge -- moju omiljetu prostoriju u konpaniji u kojoj radim :D i provodim slobodno vreme [lunch/breaks] svaki [radni] dan