Plakat pripravljen v študijskem letu 2020/2021 pri predmetu Grafično oblikovanje in pred snemanjem filma (mentor: Timon Leder) // The poster Pietro prepared in the study year 2020/2021 at course Graphic Design and before the shooting of the film (mentor: Timon Leder)
Vida
Pietro Cromaz
2021, 16 min, igrani // fiction film
Vida je legenda iz ljudske kulture Beneške Slovenije. Razlog za filmsko adaptacijo te zgodbe izhaja iz moje želje, da bi ustvaril kratki film kot poklon Benečiji: te doline imajo bogato kulturno ozadje, ki je hkrati skrito pred zunanjim svetom, saj je izolirano in težko dostopno. V celotni regiji je opazen upad prebivalstva. Ljudska izročila, noše in slovesnosti so začeli izginjati. Namen mojega avtorskega dela je v diplomi izpostaviti folkloro Beneške Slovenije in prispevati k stvaritvi konkretnih dokazov o obstoju te kulture. Priljubljene tradicije in lokalne noše so pomemben del za oblikovanje in ohranjanje lastne identitete v kontekstu širše družbe. S problemom globalizacije je sodobna in postmoderna družba začela zavračati ljudsko kulturo, ki jo je treba krepiti in ponesti v prihodnost, vendar ne kot breme, temveč kot simbol pripadnosti določeni skupnosti. Skupnost brez svojih tradicij je družba brez duše, peščeni grad, ki ga bo uničil prvi morski val ali prvi sunki vetra.
Odločitev za medij kratkega filma za predstavitev zgodbe je privedla do več omejitev, zlasti v postopku produkcije. Legenda je predstavljena z omejenim številom prizorov, lokacij in igralcev preko preproste strukture, ki ji še vedno uspe izpostaviti dva titanska lika – Vido in Atilo, kraljico majhnega kraljestva in enega najbolj neusmiljenih kraljev-bojevnikov.
Delni navdih za pripovedno strukturo je bil film Trpljenje device Orleanske Carla Theodorja Dreyerja. Zgodba o Ivani Orleanski je bila posneta z minimalno in »čisto« scenografijo, tako da se lahko gledalec bolj osredotočil na čustva glavnega junaka. To je tudi razlog, da se nisem odločil za epski izgled prizorov, ampak sem se bolj osredotočil na samo igranje in izražanje čustev.
Z vzporednno in križno montažo je zagotovljena dodatna sopostavitev Vide in Atile. Tako je izmenjevanja dveh ali več prizorov, ki se pogosto dogajata hkrati, vendar na različnih lokacijah. Z uporabo takšnega zaporedja izmeničnega fokusa lahko ustvarjalec filma ustvari napetost med dvema subjektoma, medtem ko ju hkrati poveže med seboj. Eden najbolj znanih primerov uporabe križne montaže za vzpostavljanje odnosov in potek pripovedi najdemo v filmu D.W. Griffitha Rojstvo naroda iz leta 1915. Vendar, kot opaža Michael Rogin, »vzporedna montaža ni prispevala zgolj k pripovedovanju zgodbe; njene sopostavitve, kontrasti, razkosanje in rušenje meja so omajali nadzor nad pripovedjo in grozili s kaosom«.
–Pietro Cromaz
Vida is a legend coming from the folk culture of Slavia Friulana. The adaption of this story intoa script comes from my desire to produce a short film as a tribute to Benečija: these valleys carry a richcultural background, which is at the same time hidden to the outside world, because of problems such asisolation and lack of accessibility. Throughout this region is visible a decline in population. Folktraditions, costumes, ceremonies, start disappearing. The purpose as an author is to enhance thefolklore of Slavia Friulana through my diploma work and to contribute building concrete proof ofexistence of this culture. Popular traditions and local costumes are important to create and maintain ownidentity in a context of a broader society. In modern and postmodern society, the problem of globalization caused a rejection of folk culture, which instead has to be enhanced and carried into the future notas a burden, but as a symbol of belonging to a particular community. Acommunity without its traditionsis a society without a soul, a sand castle destined to be washed away by the first wave of the sea, by thefirst gust of wind.
The use of the short film form as a media to present this story led to several limitation, particularly considering the production department. The narration of the legend takes into consideration alimited numbers of scenes, locations and actors by following a simple structure, which is still capable topoint out two titanic characters, Vida and Attila, a queen of a small kingdom and one of the mostruthless warrior kings.
The narrative structure is partially inspired by the film The Passion of Joan of Arc of CarlTheodor Dreyer. The story of Joan was shot with a minimal and “pure” scenography, which brought theviewer to focus more on emotions of the main character. This led me to avoid an epic look of scenes, inorder to concentrate more on acting and emotional expression. The juxtaposition between Vida and Attila is also provided with the use of parallel editing.Parallel editing or cross cutting is the technique of alternating two or more scenes that often happensimultaneously, but in different locations. By employing this sequence of alternating focus, thefilmmaker is able to build up tension between two subjects while relating them to one another. In D.W.Griffith’s 1915 film The Birth of a Nation, cross-cutting is famously employed to establish relationshipsand drive the narrative. However, as Michael Rogin observes, “parallel editing didn’t simply contributeto storytelling; its juxtapositions, contrasts, dismemberments, and boundary breakdowns endangerednarrative control and threatened chaos.”
–Pietro Cromaz
