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ISSN 1409-6900 | UDK 82+7     Blesok no. 28 | volume V | September-October, 2002



                     Peer-reviewed journal
Blesok no. 28September-October, 2002
Gallery Reviews

The Postmodernism in the Macedonian Film – part II

p. 1
Robert Alagjozovski

collage and montage

Goodbye to 20th Century

The fragmentarity follows the principle of constructing the parts from the deconstructed (one or more) wholes, through the means of montage, collage, inoculation of quotes from the various different textual origins etc. All of the constitutional parts of the whole are equal by their significance, and they stood on equal bases within the whole. That provides them such independence, so they can also function outside the whole, as well. The film Light Gray is an omnibus film, namely – a triptych made by three different authors, and every story is an independent whole within the great whole. The documentary and genre patterns in Maklabas are a freely-made collage, in spite of the illusion that they follow some firm narrative line. In Goodbye to the 20th Century – the three thematic parts are


linked among themselves with a different motivation each, and while the part with the Santa Claus comes (in the fable and chronological sense) before the part with Kuzman, it comes (in the edited story) afterwards, following some constructed, cyclic time logic. Then, the black & white segment (the third part) in the film that speaks of the first filmed incest at the Balkans comes as a completely independent part of the collage, both in style and in the theme, and even in the way it’s filmed. The reason for the reaching after this way of techniques is the thesis that the art-deed can’t directly present the understanding of the world, or to fully “catch the feeling” on that issues. Instead of that, the art-deed can (inter)mediate – through the collage, and through the editing – in the expressing and presenting those upon the actual or historical examples. The elements of the film language doesn’t have sense and meaning by & within themselves, but the y gain that through their editing and collage structures (both in text and image).



Postmodern films point upon their status of artifact systematically and with a self-conscience. The traditional and the modern films try to minimize the fiction and to reassure the audience that he experiences the reality itself, and to build an illusion of the world that will capture the recipient in that it. The metatextual films maximize the fiction and remind the recipient that he’s experiencing only something created, something made (and “false” in the very reality of the real world). Stole Popov uses

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