REKONCEPTUALIZACIJA FILMSKIH FESTIVALA U NOVOM MILENIJUMU

Abstract

Predmet ovog rada je rekonceptualizacija filmskih festivala formulisana kao potraga za odgovorima na dva pitanja: (1) kako je dolazilo do rekonceptualizacije u različitim periodima razvoja pojedinih festivala i (2) kako je to uticalo na globalnu sliku filmskih festivala. Mapiranjem festivala istorizujemo rekonceptualizacije filmskih festivala jer istorijska perspektiva otkriva kontinuitet potrebe da se festivalski organizmi unapređuju i prilagođavaju aktuelnim kinematografskim i tehnološkim promenama/tendencijama i dinamičnom društvenom okruženju. Rekonceptualizacija filmskih festivala je posledica delovanja niza faktora, a u ovom radu analiziramo one najznačajnije: geopolitičke i tehnološke; bavimo se faktorom promena tehonolgije i pojave novih medija, odnosno pojave novih (tehnoloških) formata kao posledica nove medijske prakse, najzad, govorimo i o uticajima koji su nastali kao posledice uzrokovane digitalnim preokretom, odnosno, pojavom novih digitalnih formata (virtuelna realnost; online filmski festivali itd.). Tokom istraživanja ukazujemo i na rekonceptualizaciju festivala koja utiče na inovirani odnos film-gledalac i film-kritičar i, posledično, koriguje modele filmske recepcije. Ono što se na kinematografskom, medijskom, tehnološkom i kulturološkom planu događa u novom milenijumu – a tu su promene najdinamičnije i najdrastičnije – dovoljno je reprezentativno da bi bilo u fokusu ovog istraživanja. Stanovište koje ovaj rad zastupa jeste da je primenom odgovarajuće metodologije moguće prepoznati pojave, osobenosti, procese koji pružaju ubedljive argumente kao relevantan putokaz istraživačkom izazovu. Zagovaramo stav da fenomen filmskih festivala predstavlja i za filmsku umetnost i za globalnu kinematografiju, oblast delovanja koja zaslužuje posvećeno empirijsko-teoretsko promišljanje.

The dissertation researches the reconceptualisation of the film festivals in an attempt of answering the two main research questions: (1) how did the reconceptualisation happen in the various periods of development of individual festivals and (2) how the process influenced and redefined the global image of film festivals. The mapping of the changes assures the historicisation of the reconceptualisation, while the historical/diachronic perspective exposes continuous and permanent need of the festival mechanisms to closely follow and adapt to the ongoing cinematic and technological shifts and a dynamic social context. The reconceptualisation of film festivals is a result of a number of factors that, as identified in this research., fall into two categories: geopolitical and technological. The latter refer to the technological development and the emergence of new media, i.e. the new formats created by new media practices. Moreover this set of factors is labelled as the „digital turn“ or the emergence of new digital formats. Finally, the dissertation reveals the way in which the reconceptualisation involves the innovated relationships between the films and the audience and the models of reception; as well as between the films and the critics. The theme of the study are the reconceptualisation processes recognised as the developments in the cinematic, media, technological, geopolitical, audience and cultural domains in the new millennium – when the change is most dynamic and drastic – that allow the appearance of the new festival paradigm. The position advocated by this study is that: (1) film festivals represent a theme to be approached through specific, appropriated and distinct empirical and theoretical considerations; (2) film festivals are to be analysed as the phenomenon of, both, film art and global cinema industry. The two pronged perspective and the convincing arguments allow us to comprehensively identify the film festivals in the digital context of new millennium and new geo-political order and to recognise idiosyncrasies and processes of their reconceptualisation.