About the Macedonian film
 The
institutionalization of the national cinematography
is the most significant in the development of Macedonian
film. The constitution of the first film production
company "Filmsko Skopje" results with the
first documentary films in 1947. Later, the company
is renamed as "Vardar Film". At the beginning,
the company starts with the serial of film journals
named as "Film Review" ("Filmski pregled").
The Macedonian filmmakers, in spite of their lack
of experience, managed to overcome the medium's characteristics
and to "absorb" the possibilities of the
documentary genre very soon.
The society development reflects upon the development
of the film production, as well as upon the thematic
interests in it. Also, the narratives increased and
the feature segment is enriched with genre blending.
The appearance of the Independent Production Company
FRZ-SKOPJE (at the end of the 60's and the beginning
of the 70's) announced the possibility of competition
in the field of film production. But, however - that
didn't happen, because of the swift decline of this
company.
The documentary film production in Macedonia constantly
increases and develops. With more than 500 film titles,
with its various and numerous themes and view perspectives
- it presents itself as a documentary treasury of
the Macedonian statehood and its segments. Significant
number of the artistic documentary films is also a
part of the world's cinematography treasury.
The Macedonian feature film production officially
begins with the realization f the film FROSINA in
1952. Since then, 50 long-length feature films are
made until today. Seven of them are co-productions.
In this segment of the national cinematography, feature
film production realizes a homogenous author's structure,
which resulted with the significant number of high-quality
film deeds. The choice and the treatment of the genres'
possibilities, as well as the author's capabilities
develop further to the optimum. So, the authors' sensibility
in the feature film production gains some kind of
optimal function in the constructing of the film deed.
This kind of situation emphasizes the authors' viewpoints
of the chronotop and the human's role in it. What
else we consider as a matter of significance is that
even in this specific and relatively limited film
quantum, Macedonian filmmakers manage to create many
worthy and - for the Macedonian film, very relevant
- authors' opuses. In that context, the generic form
of the film expression and its specifics are of the
primary interest.
The short-length feature film production has its
own specifics in the Macedonian feature film production
in general. As the result of the routine in the film
expression, the short-length film forms had the role
of the educative polygon for the Macedonian filmmakers.
One of the most significant segments for the Macedonian
cinematography in the 70's was the appearance and
the development of the animated film. It develops
in a few animation-style directions: caricatural gag-animation,
the graphic and painted expression and subject animation.
The Macedonian film animation didn't pass unnoticed
from the domestic and foreign film critics. The specific
thematic and the noticeable structuring of the animated
film material placed this segment of the Macedonian
cinematography on the high pedestal in the world's
film animation in general. The Macedonian film animation,
with its short but bright history, has a significant
place in the Macedonian cinematography. With its power
to express - creatively and aesthetically - the spirit
of its time, and simultaneously sharing its existence
with the feature film, the animated film, at the same
time, fulfills the gaps in the feature film production
in general.
For all additional information, contact Cinematheque
of Macedonia.
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