Conclusion
#8 The postmodern in the Macedonian film isn’t great in quantum, there are only few films, but what considers the quality, i.e. the presence of the postmodern characteristics and means, as we saw above, the postmodern is emphatically present at the above-mentioned film authors. The first appearance, in the style of the neo-conservative replay, we can see in 1986 in the film Happy New ’49, directed by Stole Popov. This author uses (although with a quite less quantity) the postmodern techniques or themes in his later films Tattoo and Gypsy Magic. The real “boom” of the postmodern in the Macedonian cinematography is actually in the 90’s, same as within the other arts: the literature, the theater, etc. Modestly predicted by Mančevski with his film Before the Rain, the postmodern bursts with the almost pure films by the tandem Popovski & Mitrevski (Light Gray, Goodbye to the 20th Century), and at the first time with Janakievic also (Light Gray), and by Aleksandar Stankovski (Maklabas); further, by the Dimitrie and Tomislav Osmanli (Angels on a Dump), and finally with the Mančevski’s Dust. The way of the organizing #10 of the postmodern esthetical characteristics in these films shows the inclination toward the rebellion against the conventional film models, experimentation and burdened reception. That’s a moment that can be discussed if we have in sight the so-called art-mask of the postmodernism, the semiotics of the quotes, in which the subversive art is applied upon the (at the first sight) acceptable and communicative film patterns and models. Because of the technical, technological and material difficulties, the films are quite rarely made in Macedonia, and they are in the small amount, so this authors doesn’t easily get a chance to express themselves through the filming more films. On the other hand, there is a row of younger authors with the obvious postmodern inclinations (at the fields of the documentary film, video art, music video clips TV film, etc.) that still didn’t get a chance to express themselves through the long-length feature film forms. Because of those reasons, the Macedonian postmodern film exists more as a potential, more as an announcement that uses many strategies of the film survival, and, more or less, for any kind of a creative engagement – so it can be better analyzed if this kind of research widen itself towards the coverage of the whole audio-visual medium.
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Translated by: Petar Volnarovski