The Image of the City of Ljubljana in Slovenian Post-Independence Film

V magistrskem delu sem raziskovala prikaz Ljubljane v celovečernih igranih filmih, nastalih v obdobju tranzicije po osamosvojitvi, med letoma 1991 in 2004. Z umetnostnozgodovinskimi metodami sem preučevala, kako režiserji izkoristijo podobo mesta in posameznih stavb za poustvarjanje občutka resničnih lokacij, kako na filmskem traku učinkujejo prepoznavne lokacije ter skušala razbrati simbolizem določenih stavb. S formalno analizo sem v izpostavljenih kadrih opazovala kompozicije, barve, perspektive, volumne, svetlobo in sence, s kontekstualno analizo pa filme umestila v prostor in čas. Izhodišče raziskave je študija, v kateri je s semiološko metodo analiziran prikaz Ljubljane v celovečernih igranih filmih, nastalih od konca druge svetovne vojne do konca 60. let. V njih je mogoče prepoznati dva prevladujoča vzorca, prvi je osredotočenost na historični del mesta, drugi pa vključuje določeno mero odpora do intenzivne modernizacije in urbanizacije, kar sem skušala aplicirati tudi na poosamosvojitvene filme. Ugotovila sem, da v primerjavi s starejšimi filmi ni mogoče izpostaviti nekega ponavljajočega se vzorca, ki bi prevladoval med poosamosvojitvenimi filmi. Ljubljana v večini filmov učinkuje kot neizrazito okolje, ki ne igra pomembne vloge pri samem razvoju narativnega okvirja. Izpostaviti je mogoče posamezne lokacije, kot so Trnovski pristan, središče Ljubljane z Mestnim trgom, nabrežja in mostovi Ljubljanice ter Žale in Tržnica, ki se večkrat pojavijo v prizorih s podobno tematiko. Poosamosvojitveni filmi se izogibajo (žanrski) karakterizaciji prestolnice in se zadržujejo v okviru reprezentacije realističnega mesta, kar pa Ljubljani v filmu odvzema pomembnejšo vlogo.In the thesis, I researched the portrayal of Ljubljana in feature films made during the transitional period between 1991 and 2004 after Slovenia had gained independence. Using the art historical methodology, I studied how film directors used the image of the city and individual buildings to recreate the sense of real locations, how well-known locations function on film, and tried to interpret the symbolism of certain buildings. With formal analysis, I observed compositions, colours, perspectives, volumes, light and shadows in the most representative shots. With contextual analysis, I placed the films in space and time. The starting point of the research was a study in which the depiction of Ljubljana in feature films made from the end of the Second World War to the end of the 1960s is analysed using semiological methodology. There are two predominant patterns in the early films, the first is the focus on the historical part of the city, and the second involves a certain degree of opposition to intensive modernization and urbanization, which I tried to apply to post-independence films. I have found that, compared to older films, it is not possible to point out any recurring pattern that would predominate among post-independence films. In most films, Ljubljana acts as a vague environment that does not play a significant role in the development of the narrative. It is possible to point out some individual locations, such as Trnovski pristan, the city center of Ljubljana with Mestni trg, embankments and bridges of the Ljubljanica River as well as the Žale Cemetery and Tržnica, which often appear in scenes with similar themes. Post-independence films avoid the (genre) characterization of the capital and remain within the representation of a realistic city, which deprives Ljubljana of a more important role in the film