Laisvojo kino beieškant: praradimai, atradimai

LTStraipsnyje supažindinama su išlaisvėjusio Lietuvos kino sunkumais – lūžio laiku, atgavus Nepriklausomybę, naująja kino karta, ne vienų metų vegetavimu dėl blogo valstybės finansavimo ir kino teatrų uždarymo ir pastarųjų metų pakilimu. Taip pat aptariama muziejuje sukaupta Nepriklausomybės laikotarpio kino medžiaga ir problemos, iškylančios siekiant ją išsaugoti. Išsakoma šiandienos dilema – kas galėtų tapti dabartinio kino eksponatais Lietuvos teatro, muzikos ir kino muziejuje (LTMKM). Raktiniai žodžiai: Nepriklausomybės laikotarpio kinas, dokumentika, filmų reliktai, studija „Kinema“, kino kūrėjai. [Iš leidinio]

ENDuring the thirty years of Lithuania’s independence, radical transformations have taken place in cinema. After the collapse of the Soviet Union, the system of financing cinematography collapsed as well, since 1992 the work of the Lithuanian Film Studio was being stopped. Under such conditions of the beginning of independence, Lithuanian cinema had to find ways to survive. A new generation of filmmakers set out to create independent film studios, and the films they created began to gain international fame fairly quickly. And only in 2012, after the establishment of the Lithuanian Cinema Centre, the situation of the national film gained stability and security. For almost the entire period of independence, in the tense situation of cinema, the collection and preservation of its heritage were not consistently taken care of. The Lithuanian Theatre, Music and Cinema Museum took over the film heritage only in 1992 when the Cinema Department was established. During the first year, it was focused on the interwar and Soviet era, striving to collect the evidence of earlier film history. It would seem the recent past can be easily reached. However, in the absence of a tradition to share the material and relics of the films, even encouraged filmmakers have been slow to respond. They do not devote time and attention to this, nor do they know which institution for the preservation of cultural memory to ascribe a “legacy”.We can now see that some of the material on film collected in the museum is in danger of being “unreadable” due to the rapid change in technical means. Therefore, the assets accumulated for almost thirty years should be digitized as soon as possible. Technical innovations also adjust image selection and storage. Currently, almost all memory (video and text) capture and storage equipment is digital. As a result, content is becoming less and less authentic. And while digital information is becoming faster and easier to access in virtual space, we can see the danger that it will be inaccessible or even disappear due to technical problems. To prevent this from happening, it is worth making sure that digital material (photographs, posters) would be printed. New problems and dilemmas related to the changing nature of the film industry’s work have also emerged. Now, when making films, neither property nor costumes are usually created anymore. They are either adapted or rented. Even more complicated situation is when thinking about documentary relics. This raised the question of what could become a unique museum exhibit of contemporary cinema, which would be an important sign of cultural history for future generations, helping to tell the history of free cinema. Probably the most important thing when choosing exhibits for the museum is the constant interest in the film process and communication with filmmakers. [From the publication]