Vol.1, No 5, 1998 pp. 491 - 496
UDC:316.77
THE FILM CRITIQUE AS A FACTOR OF FILM
COMMUNICATIVITY
Nikola Božilović
The Faculty of Philosophy, The study group of Sociology, Niš
Abstract. This article has one aim, to show that the film critique
has an inevitable role in the communication of the film work. The author
respects the aesthetical factors of film communication which consist of
the inner structure of the film creation, but involves in the "play" the
film critique which represents an inevitable link in the chain of socio?cultural
facts of film communication. The film critic is, in this context, the real
communicator. He is, in a way, a mediator between the work (author) and
the audience (society). The author draws the conclusion that a great number
of so-called, theoreticaly non?defined film critiques, which disables the
audience from getting a real view into the quality of the film
work. Film criticism must give up the parameters of literary and art criticism
and it has to prove itself as an autonomous one, be it is based on aesthetical,
psychological or sociological criteria. The possibilities of sociological
film criticism are especially considered in this article, which (criticism),
with the other factors of film communication makes its inevitable ingredient.
Key words: art criticism, film criticism, the possibility
of an immanent criticism, arbitral courts, public opinion rejection, the
sociology of film criticism, rational premises, emotional experience.
FILMSKA KRITIKA KAO FAKTOR KOMUNIKATIVNOSTI
FILMA
U ovom članku želi se pokazati da filmska kritika ima nezaobilaznu ulogu
u komunikativnosti filmskih dela. Autor uvažava estetske faktore filmske
komunikacije koji se nalaze u unutrašnjoj strukturi filmskih ostvarenja,
ali u "igru" uvodi i filmsku kritiku koja predstavlja nezaobilaznu kariku
u lancu socio-kulturnih komponenti filmske komunikacije. Filmski kritičar
je u ovom kontekstu pravi komunikator. On je, na određen način, posrednik
između dela (autor) i publike (društvo). Autor zaključuje da je veliki
broj tzv. filmskih kritika teorijski neutemeljen, što onemogućava pravi
uvid publike u kvalitet filmskih dela. Filmska kritika mora napustiti parametre
književne i likovne kritike i pokazati se autonomnom, bilo da se temelji
na estetičkim, psihološkim ili sociološkom kriterijumima. U članku se posebno
obrađuju mogućnosti sociološke kritike filma, koja (kritika), uz ostale
faktore filmske komunikacije, čini njenu nezaobilaznu komponentu.
Ključne reči: umetnička kritika, filmska kritika, mogućnost
imenentne kritike, arbitralni sudovi, otpor javnog mnjenja, sociologija
filmske kritike, racionalne premise, emocionalni doživljaj.
