STUDIES AND RESEARCH

Analysis of film shots: The Lost Homeland by Ante Babaja

The author analyses style of the images of Ante Babaja’s film The Lost Homeland, and notices contextual sense of photography and connection of elements of directing and filming. He explains the thesis on film imagery as a function of directing and claims that photographic parameters and filming solutions are not independent variables, at least not in this film. Therefore, he analyses aspects of directing more than photography itself and filming technique. A discreet, minimalist directing procedures are noticed, but they give the impression director is not intruding in reality that is shown and suggests the position of a neutral observer. The author discusses ’naturalistic’ photography, and calls the imagery approach ’pseudo documentary’. The scenes are reduced in content and production design only to what is important, and action is shown in continuous, long, quiet and wide frames at ambient lightning. Thus, the different elements of Babaja’s approach meet at the same point, which could be called realism.
From the visual-directing point of view, the realistic approach is reflected in framing, movement of the camera and manipulating the plans and length of frames, or the rhythm of the film. From the point of view of director of photography, the treatment of light, the composition, colourism, and use of lenses are important. But realism, though very essential, is not the only creative principle represented. In this film there is stylistic trinity, made of realism and moderate aestheticizing in image, and prominent stylization in music and global composition of the film. In spite of the importance he gives to director’s interpretation of film photography, the author points out the important role of, then young, but very refined director of photography, Goran Trbuljak, who was able to perceive the director’s sensibility and visualize his ideas.

Silvestar Kolbas