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30 May 2018
Austria Vienna ARCC.art Gallery
The panel discussion On News at the closing of the exhibition The News Belongs to Us by Nika Autor, featuring speakers Zdenka Badovinac (Moderna galerija / Museum of Modern Art, Ljubljana plus Museum of Contemporary Art Metelkova), Ciril Oberstar (ZRC Publishing, Dialogi Journal, Ekran, Magazine for Film and Television), and Andrej Šprah (Slovenian Cinematheque, Academy of Theatre, Radio, Film and Television (AGRFT)), moderated by the exhibition's curator Andreja Hribernik, supported by the Slovenian Culture and Information Centre, Vienna (SKICA) (Embassy of the Republic of Slovenia Vienna),
Despite the fact that Ekran was not the first Slovene film magazine after the second world war (before it the Film gazette and Film magazine were published) at the time it was established writing about cinema was at its beginning. That's why the young team of cinefiles (V. Musek, T. Tršar, B. Šomen) that in 1962 took over the new film magazine had to lean on translated text mostly to introduce Slovene readers to the then current situation in world cinema. On the other hand they were among the first to promote new tendencies in the Yugoslav cinema of that time, influenced by the European new waves, mostly the so called black film (B. Hladnik, J. Pogačnik and Ž. Pavlović in Slovenia, A. Patrović, D. Makavejev and Ž. Žilnik in other parts of former Yugoslavia) - on the home front and internationaly.
The next important period in the history of Ekran were the 1980s when under the strong influence of the modern French film theory Ekran's writers (S. Žižek, M. Dolar, Z. Vrdlovec, S. Furlan, S. Pelko, A. Zupančič, etc.) started to merge high theory and popular culture - Lacan and Hollywood films. Their original approach to film studies triggered the golden period of the magazine Ekran as it's reputation considerably grew as at home as internationally. At that time Ekran, with S. Furlan as editor in chief, made a big step forward also in regard to its organizational structure. It was published regularly on a bimonthly basis, it introduced a book collection - Imago, dedicated to film theory (later it was integrated in the publishing activity of Slovenian Cinematheque) - and an international colloquium of film theory called Autumn Film School.
In the mid 1990s Ekran's situation radically changed as it sunk in an editorial crisis and it stopped being published for a year. Towards the end of the decade when Ekran got a new publisher (Slovenian Cinematheque, in 1997) and Simon Popek took over the position of the editor in chief the situation slowly improved. It started to emphasize it's cinefile orientation following film festivals and world cinema and calling into attention the overlooked chapters of film history. In 2005 followed another turn of orientation as N. Bohinc, the new editor in chief, decided for a more populist approach to cinema but she also gave to the Ekran a distinctive international character. The last change in it's editorial policy came in 2009 when G. Trušnovec took the editorial position. Now Ekran is again a monthly magazine (with a double summer issue) that is trying to bring a general overview on contemporary film production (mainstream and independent) while giving also a greater attention to the home front. As good as may seem the actual situation there are still some things to regret - first of all the lost of the Autumn Film School as it always brought interesting international guest and opened a space for a vivid discussion on different film topics but also the lost of the Ekran 'Nursery' School of the Gaze as it gave a chance to the youngest cinefiles to meet and learn new things.
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