Program VI / Programme VI

PÄRNOGRAFIJA / PÄRNOGRAPHY

Hardi Volmer (Acuba Film)
Estonija/Estonia, 2005, digiBeta, 52’

Pärnografija je dokumentarni film o Priitu Pärnu, čigar delo je do skrajnosti groteskno, absurdno in zabavno, hkrati pa kritično do družbe in sposobno prodreti do najglobljih plasti človekove zavesti. Čeprav je Pärn vodilni predstavnik estonskega animiranega filma, ob njem najdemo še vrsto drugih ustvarjalcev. Film predstavi Pärna in njegove sodobnike, združene v kolektiv ESTTRANSSÜRR, zaključi pa pri Pärnovih učencih, novi generaciji estonskih ustvarjalcev animiranega filma. Ob tem se postavlja vprašanje, zakaj se je prav v Estoniji, ki predstavlja le piko na globusu, animacija razvila v tako prodoren umetniški fenomen. V tej tovarišiji 1,5 milijona prebivalcev mora biti s sorazmernostjo nekaj hudo narobe. Je Estonija začarana Animazonija?


Lahko bi rekli tudi, da film ruši poenostavljen romantični mit o t. i. pevski revoluciji, s katero se je rodila neodvisna Estonija – preprosto zato, ker moramo znova razmisliti o drugačnem pogledu: da se je Estonija osvobodila prek animacije.


Vse te okoliščine so pojasnjene prek primerjave Pärnovega življenja in ozadja, ki ga tvori estonska zgodovina. Po zgradbi film Pärnografija – Mož iz Animazonije – spominja na Pärnov animirani film 1895, saj sta oba sestavljena iz kratkih zgodb. Imata pa tudi enak odnos do zgodovinske resnice: ravnodušnega, ne pravovernega.

***

Pärnography is a documentary about Priit Pärn whose works are utterly grotesque, absurd and funny. Additionally, they are critical about the society, piercing the deepest levels of human consciousness. Although Pärn is in the forefront of Estonian animation, there is to be found a substantial number of other animators. The film presents Pärn and the animators of his generation within the group ‘ESTTRANSSÜRR’, and then moves further on to the contemporary animation generation of Estonia, Pärn’s students. The question is: why in Estonia, at this spot on the globe, has animation developed into such a vigorous art phenomenon? There must be something proportionally out of place within this camaraderie of 1,5 million inhabitants. Is Estonia an enchanted Animazone?


It might well be the case that the film undermines the naïve romantic myth about the Singing Revolution, which formed the basis for free Estonia, simply because we feel the urge to renegotiate another vision: that Estonia was liberated via animaton.


The afore mentioned is elucidated by comparison of Pärn’s life against the background of the history of Estonia. Structurally, The Man from animazone resembles Pärn’s animation film ‘1895’, both comprise short stories. And the both are analogous to historical truth: deadpan, not orthodox.