The Postmodernism in the Macedonian Film – part II

/, Gallery, Blesok no. 28/The Postmodernism in the Macedonian Film – part II

The Postmodernism in the Macedonian Film – part II

palimpsest

#7 The palimpsest is the text written over some other text that is previously erased. The physical erasing of the text is the most distant critic of the interpretation. Actually, the text is freed of his relation and attitude towards its forebear at the domain of the content, because those two inscriptions aren’t linked by the theme or story, but the later one is condemned to its forebear in the frames of their way of existence. So, the fact that the later text doesn’t addresses its forebear is of no importance, because it can’t be acquitted by its precursor. The drastic example is the black & white sequence for the first incest in the Goodbye of the 20th Century. That palimpsest isn’t in any connection with the other two wholes in the film, except in the arch-theme: the incest, which is one of the #6 main themes in the film. With the fact that this part doesn’t match nor chronologically nor in the story line, we don’t know (for sure) the linkage between those, is it that the one precedes the another two, or is it the inspiration for the film, or is it of a later origin… The palimpsest is present on another level of the film. Because the scenes are constructed both photographically and scenographically, by the pattern of the previous existing films, the real scenes exist in a palimpsest way behind these, newly filmed. The character of Kuzman is also of a palimpsest provenience. Within him, there are numerous threads of other characters: Kuzman Kapidan, Bolen Dojchin, Rambo, Dracula, etc. Through the palimpsest, the postmodern– most deeply – penetrates into the credo that everything is already said and that nothing new can be said and that everything what remains is to repeat somebody else’s experience.

2018-08-21T17:23:36+00:00 October 1st, 2002|Categories: Reviews, Gallery, Blesok no. 28|0 Comments