{"id":1991,"date":"2018-10-04T09:43:54","date_gmt":"2018-10-04T07:43:54","guid":{"rendered":"https:\/\/qys.sk\/?p=1991"},"modified":"2021-03-18T09:11:21","modified_gmt":"2021-03-18T08:11:21","slug":"filmy-prinasaju-aj-sebapoznanie-spomienka-na-projekt-queer-film-a-kontext","status":"publish","type":"post","link":"https:\/\/duhovyrok.sk\/qys\/filmy-prinasaju-aj-sebapoznanie-spomienka-na-projekt-queer-film-a-kontext\/","title":{"rendered":"Filmy prin\u00e1\u0161aj\u00fa aj (seba)poznanie: spomienka na projekt Queer film a kontext"},"content":{"rendered":"\n<p><strong>Autor a autorky: Dominika Chrastov\u00e1 (\u00favod), Krist\u00edna Aschenbrennerov\u00e1, R\u00f3ber \u0160veda \/ Foto: Outnow.ch<\/strong><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Arch\u00edvny text sme prv\u00fd raz publikovali v \u010d\u00edsle Jese\u0148 2018<\/p><\/blockquote>\n\n\n\n<p><strong>Film je jedn\u00fdm z&nbsp;najlep\u0161\u00edch prostriedkov, ako pribl\u00ed\u017ei\u0165 heterosexu\u00e1lom \u017eivot LGBTI os\u00f4b a&nbsp;z\u00e1rove\u0148 uk\u00e1za\u0165 \u013eu\u010fom, ktor\u00ed sa vyrovn\u00e1vaj\u00fa so svojou sexualitou a&nbsp;rodovou identitou, \u017ee v&nbsp;tom nie s\u00fa sami. Aj preto vznikol minul\u00fd rok projekt Queer film a&nbsp;kontext, ktor\u00fd div\u00e1kom pribli\u017euje historick\u00e9 vn\u00edmanie LGBTI post\u00e1v na pl\u00e1tne.&nbsp;<\/strong><\/p>\n\n\n\n<p>Projekt prebiehal v&nbsp;kine Lumi\u00e8re od 4. do 30. decembra 2017. Program bol pestr\u00fd, tvorili ho filmy <em>Zak\u00e1zan\u00e9 pl\u00e1tno Ameriky<\/em>, <em>K\u0148az<\/em>, <em>Svadobn\u00e1 hostina<\/em>, <em>Queerama<\/em>, <em>120 tepov za min\u00fatu<\/em>, <em>Hana a&nbsp;jej bratia<\/em>, <em>Moja n\u00e1dhern\u00e1 pr\u00e1\u010dov\u0148a<\/em>, <em>Philadelphia<\/em> a <em>Moje s\u00fakromn\u00e9 Idaho<\/em>.&nbsp;<\/p>\n\n\n\n<p>Sn\u00edmkami zaraden\u00fdmi do tohto cyklu, ktor\u00fd mal aj edukat\u00edvny charakter, sa podarilo pouk\u00e1za\u0165, ako sa menilo nielen zobrazovanie pr\u00edslu\u0161n\u00edkov LGBTI men\u0161iny vo filmovej produkcii a&nbsp;v&nbsp;m\u00e9di\u00e1ch, ale aj spolo\u010densk\u00e9 postoje k&nbsp;nim. Cie\u013eom projektu bolo aj bojova\u0165 proti homof\u00f3bnym a&nbsp;xenof\u00f3bnym n\u00e1zorom a&nbsp;poskytn\u00fa\u0165 LGBTI komunite a&nbsp;jednotlivcom priestor na sebapozn\u00e1vanie.<\/p>\n\n\n\n<p>Viacer\u00ed filmov\u00ed teoretici, publicisti a\u00a0historici, ktor\u00ed pripravili k uveden\u00fdm filmom lektorsk\u00e9 \u00favody, nap\u00edsali o\u00a0vybran\u00fdch sn\u00edmkach aj odborn\u00e9 texty, v ktor\u00fdch bli\u017e\u0161ie objas\u0148uj\u00fa v\u00fdznam t\u00fdchto filmov v kontexte queer, svetovej \u010di n\u00e1rodnej kinematografie. V\u00a0tomto \u010d\u00edsle v\u00e1m prin\u00e1\u0161ame dva z\u00a0nich.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube aligncenter wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"My Own Private Idaho Trailer\" width=\"1333\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/QQbq2kl-P-4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>Gus Van Sant: Moje s\u00fakromn\u00e9 Idaho<\/strong><\/p>\n\n\n\n<p><strong>Text: R\u00f3bert \u0160veda (<\/strong>filmov\u00fd a telev\u00edzny re\u017eis\u00e9r, pedag\u00f3g na V\u0160MU)<\/p>\n\n\n\n<p>Ke\u010f som ned\u00e1vno preberal s jedn\u00fdm \u0161tudentom Ateli\u00e9ru filmovej a telev\u00edznej r\u00e9\u017eie FTF V\u0160MU \u017e\u00e1nrov\u00e9 rozdelenie filmov s gej tematikou do jeho teoretickej bakal\u00e1rskej pr\u00e1ce, za\u010dal som sa v\u00e1\u017enej\u0161ie zam\u00fd\u0161\u013ea\u0165 nad jedn\u00fdm filmom, ktor\u00fd sa zvl\u00e1\u0161tne vymykal zo v\u0161etk\u00fdch sch\u00e9m a&nbsp;na ktorom som s\u00e1m pre\u017eil svoj coming-out. Nie\u017eeby som rodi\u010dom a zn\u00e1mym tvrdil, \u017ee protagonista filmu som ja (aj ke\u010f u\u017e \u201epriznan\u00fd\u201c som ho v\u0161emo\u017ene odpor\u00fa\u010dal kamar\u00e1tom a&nbsp;pozeral s nimi), ale poukazoval som na to, \u017ee pr\u00e1ve idealizmus hlavn\u00e9ho hrdinu mi poskytol to, \u010do mo\u017eno poskytol sto rokov predt\u00fdm Dostojevsk\u00e9ho <em>Idiot<\/em> (knie\u017ea My\u0161kin) na\u0161im predkom. I\u0161lo o <em>Moje s\u00fakromn\u00e9 Idaho<\/em><strong> <\/strong>americk\u00e9ho nez\u00e1visl\u00e9ho re\u017eis\u00e9ra<strong> <\/strong>Gusa Van Santa.<\/p>\n\n\n\n<p><em>Moje s\u00fakromn\u00e9 Idaho<\/em> je zvl\u00e1\u0161tne neagres\u00edvny film, ktor\u00fd \u00fato\u010d\u00ed \u010distotou hlavn\u00e9ho predstavite\u013ea Mika na v\u0161etk\u00fdch div\u00e1kov. Aj ke\u010f zobrazuje \u017eivot \u201epadl\u00fdch anjelov\u201c, \u201evyvrhe\u013eov spolo\u010dnosti\u201c, Mike je medzi nimi v\u00fdnimkou. Gus Van Sant pr\u00e1ve postavou Mika tak trochu nadv\u00e4zuje na svoj debut <em>Mala Noche<\/em><strong> <\/strong>(1985), ktor\u00fd mu v \u010dase svojho vzniku vysl\u00fa\u017eil ako scen\u00e1ristovi a re\u017eis\u00e9rovi ist\u00fa pozornos\u0165 na poli nez\u00e1visl\u00e9ho filmu. \u010ciernobiely debut rozpr\u00e1va podobne ako <em>Moje s\u00fakromn\u00e9 Idaho<\/em> o zvl\u00e1\u0161tnej \u201el\u00e1ske nel\u00e1skavej\u201c medzi gejom a jeho hetero priate\u013eom. V ka\u017edom z&nbsp;t\u00fdchto dvoch filmov sa tieto dve \u201erozdielne\u201c bytosti dost\u00e1vaj\u00fa k sebe z inej pr\u00ed\u010diny. V <em>Mojom s\u00fakromnom Idahu<\/em> Mike i jeho priate\u013e Scott \u0161liapu chodn\u00edk a len spolo\u010dn\u00e1 existencia, mo\u017eno ist\u00e1 v\u00fdlu\u010dnos\u0165, \u201earistokratickos\u0165\u201c Scotta, zapr\u00ed\u010din\u00ed Mikovo vzplanutie k&nbsp;nemu. Tam, kde Rob Rainer vo filme <em>Ke\u010f Harry stretol Sally<\/em> rie\u0161i premisu, \u017ee \u201emu\u017e a&nbsp;\u017eena nem\u00f4\u017eu by\u0165 priatelia, lebo sa medzi nich v\u017edy dostane sex\u201c, rie\u0161i Van Sant nie\u010do podobn\u00e9. Ale idealistickej\u0161ie. Aj ke\u010f mnoh\u00e9 v tomto filme je komick\u00e9 a&nbsp;od\u013eah\u010duje celkovo krut\u00fd Mikov osud, to, \u010do sa dost\u00e1va medzi hetero a&nbsp;geja, nie je fyzick\u00fd gag, sex, ale \u2013 l\u00e1ska.<\/p>\n\n\n\n<p>Mikov svet nie je telesn\u00fd. O ten d\u00e1vno pri\u0161iel ako o domov, ktor\u00fd mal. Jeho fyzi\u010dno je<\/p>\n\n\n\n<p>paralyzovan\u00e9 chorobou, ktorou je postihnut\u00fd. Narkolepsia je chorobn\u00e1 spavos\u0165, pri ktorej doch\u00e1dza k&nbsp;n\u00e1hlej zmene vedomia a spiaci \u010dlovek nereaguje na zmeny vo svojom okol\u00ed. Takmer ako u\u017e spom\u00ednan\u00fd knie\u017ea My\u0161kin je aj Mike postihnut\u00fd nie\u010d\u00edm, v\u010faka \u010domu sa st\u00e1va \u013eudskej\u0161\u00edm. V\u0161etko nav\u00f4kol je pre\u0148ho v\u017edy z\u00e1hadou \u2013 akoby st\u00e1le nie\u010do prespal, st\u00e1le mu nie\u010do unikalo. Zachov\u00e1va si die\u0165a v sebe. Dozrieva inak ako jeho rovesn\u00edci. Nie je to klasick\u00fd prostit\u00fat ako ostatn\u00ed chalani, nechce sa prespa\u0165 k sl\u00e1ve ani k lep\u0161iemu \u017eivotu. Proste len akosi nem\u00e1 na v\u00fdber. \u201eSpanie\u201c je jeho \u017eivot. S\u00e1m \u010di s niek\u00fdm, pri vedom\u00ed \u010di mimo neho.<\/p>\n\n\n\n<p>Bolo by fajn poveda\u0165, \u017ee Gus Van Sant sa pre tento film rozhodol z pohn\u00fatky stvori\u0165 tak\u00fa pekn\u00fa postavu, ako je Mike, ale asi to tak nebolo. Podnet na\u0148 vraj vzi\u0161iel z&nbsp;filmu Orsona Wellesa <em>Campanadas a medianoche<\/em>, ktor\u00fd sa u&nbsp;n\u00e1s uv\u00e1dzal ako <em>Falstaff<\/em>. Wellesa fascinovala postava odpadl\u00edka Falstaffa zo Shakespearov\u00fdch hier. Ob\u00e9zny a zh\u00fdral\u00fd vo\u013enomy\u0161lienkar bol pre Wellesa stelesnen\u00edm jeho sam\u00e9ho a zaoberal sa n\u00edm u\u017e od \u0161tudentsk\u00fdch rokov. A pr\u00e1ve tento film fascinoval Van Santa nato\u013eko, \u017ee sa rozhodol stvori\u0165 sn\u00edmku, v&nbsp;ktorej bude kostru pr\u00edbehu tvori\u0165 pr\u00e1ve falstaffovsk\u00e1 \u010das\u0165 hry <em>Henrich IV.<\/em> (1. a 2. dejstvo) s pr\u00eddavkom monol\u00f3gu z&nbsp;<em>Henricha V.<\/em> A tak Van Sant stvoril Scotta, syna bohat\u00e9ho podnikate\u013ea, a\u017e mafi\u00e1na, ktor\u00e9mu sa vlastn\u00fd syn vytrhol z r\u00fak a prijal za svoj domov nov\u00fd \u201eskazen\u00fd svet padl\u00fdch anjelov\u201c, kde je jeho nov\u00fdm otcom Bob, novodob\u00fd Falstaff, ktor\u00fd v&nbsp;squate ochra\u0148uje pod svojimi kr\u00eddlami mlad\u00fdch prostit\u00fatov, narkomanov a zlodej\u00ed\u010dkov a&nbsp;star\u00e1 sa o&nbsp;nich. S\u00e1m Bob m\u00e1 na Scotta erotick\u00fa slabos\u0165, ale ten ho vyu\u017e\u00edva len na boj proti otcovi.&nbsp;<\/p>\n\n\n\n<p>Gus Van Sant vytv\u00e1ra zo Shakespearov\u00fdch hier nov\u00fd svet, cituje ich, pou\u017e\u00edva jeho slov\u00e1, vyu\u017e\u00edva ich mot\u00edvy a hr\u00e1 sa s nimi. Ve\u010f je s\u00fa\u010das\u0165ou novej, postmodernej vlny film\u00e1rov, ako s\u00fa Atom Egoyan, bratia Coenovci, Steven Soderbergh, Jim Jarmusch alebo aj star\u0161\u00ed David Lynch. Zl\u00e9 jazyky tvrdia, \u017ee ak by sa z&nbsp;Van Santovho filmu vystrihli v\u0161etky pou\u017eit\u00e9 mot\u00edvy zo Shakespearov\u00fdch hier, zostal by \u010d\u00edry pr\u00edbeh h\u013eadania \u201eobjatia\u201c v d\u013a\u017eke sedemdesiat min\u00fat. In\u00e9 zl\u00e9 jazyky poznamen\u00e1vaj\u00fa, \u017ee Shakespearom fascinovan\u00fd Van Sant na\u0161\u0165astie nezni\u010dil v\u0161etko, \u010do bolo v&nbsp;jeho filme autentick\u00e9 a&nbsp;aj nov\u00e1torsk\u00e9, hlavne postavu Mika, ke\u010f\u017ee shakespearovsk\u00e1 linka patr\u00ed len Scottovi. Dnes skuto\u010dne viac oce\u0148ujeme pr\u00e1ve t\u00fa, nazvime ju romantick\u00fa linku vz\u0165ahu medzi Mikom a Scottom. Mo\u017eno pr\u00e1ve v\u010faka nej sa pre tento film nadchol aj s\u00e1m River Phoenix a vyu\u017eil&nbsp;mo\u017enos\u0165 zahra\u0165 si zbl\u00faden\u00e9ho kovboja.&nbsp;<\/p>\n\n\n\n<p>Pr\u00e1ve kovboj je pre Gusa Van Santa symbolom americkej hetero \u010di \u201eslu\u0161nej\u201c heroickosti. Naoko slu\u0161nej, lebo vo v\u0161etk\u00fdch svojich filmoch z tohto obdobia tento ide\u00e1lny charakter rozklad\u00e1 (<em>Drugstore Cowboys<\/em>, <em>Even Cowgirls Get the Blues<\/em>). Podobne to robili aj in\u00ed gej tvorcovia: John Schlesinger, Andy Warhol&#8230; Jeden z \u00favodn\u00fdch z\u00e1berov je pr\u00e1ve na reklamn\u00fd p\u00fata\u010d v tvare kovboja \u2013 slu\u0161nos\u0165 ako marketing. Ale kdesi pod touto slu\u0161nos\u0165ou je t\u00e1 prav\u00e1 americk\u00e1 dr\u00e1ma, to die\u0165a pochovan\u00e9 pod podlahou, ten rodinn\u00fd hriech, ktor\u00fd mus\u00ed osta\u0165 skryt\u00fd, aby rodina ostala bez po\u0161kvrny.&nbsp;<\/p>\n\n\n\n<p>Dedi\u010dn\u00fd hriech je americkej estetike dan\u00fd u\u017e veky. Mo\u017eno z viny za mnoh\u00e9 pr\u00edkoria, \u010do sa diali, od os\u00edd\u013eovania kontinentu a\u017e po otrok\u00e1rsku minulos\u0165, aj tu skr\u00fdva Mikova rodina jedno ve\u013ek\u00e9 tajomstvo, pred ktor\u00fdm matka sama unik\u00e1. Mikovi ost\u00e1vaj\u00fa len sny a spomienky na&nbsp;minulos\u0165, predstavy o ceste, rodine&#8230; A toto je najsilnej\u0161ia \u010das\u0165 <em>M\u00f4jho s\u00fakromn\u00e9ho Idaha<\/em>. Nie je \u0148ou pou\u017eit\u00fd Shakespeare, ale Mikov vn\u00fatorn\u00fd svet, postaven\u00fd na \u00fatr\u017ekoch mo\u017enej reality. T\u00fa zobrazuje Van Sant tak ako v predch\u00e1dzaj\u00facich filmoch vyu\u017eit\u00edm amat\u00e9rskych S8&nbsp;mm filmov \u010di obrazovou skladbou metaforick\u00fdch z\u00e1berov \u2013 trie\u0161tiaceho sa domu, plynutia \u010dasu. V Mikovom \u017eivote s\u00fa \u010das a priestor relat\u00edvne. Dost\u00e1vaj\u00fa sa na in\u00fa \u00farove\u0148, nie s\u00fa podstatn\u00e9. Cesta, ktor\u00fa si nepam\u00e4t\u00e1 a&nbsp;o&nbsp;ktorej nevie, ako dlho na nej je, je cesta ka\u017ed\u00e9ho z&nbsp;n\u00e1s za l\u00e1skou, \u010di u\u017e partnerskou, alebo rodinnou. Z detstva n\u00e1m ostan\u00fa spomienky, roztrhan\u00e9, nes\u00favisl\u00e9, asi tak\u00e9, ako m\u00e1 aj Mike. Vn\u00edmame, \u010d\u00edm sme pre\u0161li, ale cel\u00fa cestu si nepam\u00e4t\u00e1me.<\/p>\n\n\n\n<p>Ke\u010f som nakr\u00facal svoj prv\u00fd amat\u00e9rsky film <em>Z\u00e1ti\u0161ie<\/em>, pustil som vtedy e\u0161te mlad\u00fdm hercom z ko\u0161ick\u00e9ho konzervat\u00f3ria Jankovi Jackuliakovi a Jurajovi Zety\u00e1kovi film <em>Moje s\u00fakromn\u00e9 Idaho<\/em>. Nahran\u00fd na VHS kazete, bez dabingu. Aby pochopili&#8230; Aby pochopili, ak\u00e9 to je, ke\u010f niekto miluje niekoho. S\u00fa filmy, na ktor\u00e9 zabudneme; s\u00edce sme ich videli, ale zrazu nie s\u00fa v na\u0161ej pam\u00e4ti. <em>Moje s\u00fakromn\u00e9 Idaho<\/em> pre m\u0148a \u2013 a mysl\u00edm si, \u017ee nielen pre m\u0148a \u2013 v&nbsp;\u010dase svojho vzniku aj nesk\u00f4r znamenalo nie\u010do, \u010do asi \u017eiaden film nikdy predt\u00fdm ani nikdy potom. Gus Van Sant nato\u010dil jeden z m\u00e1la klenotov spomedzi filmov s&nbsp;gej tematikou. Film, ktor\u00fd ne\u017eobron\u00ed o uznanie (aj ke\u010f re\u017eis\u00e9r tam bol pre\u0148 ochotn\u00fd narva\u0165 Shakespeara) a&nbsp;v&nbsp;ktorom vytvoril ako scen\u00e1rista a&nbsp;re\u017eis\u00e9r jednu z najkraj\u0161\u00edch gej post\u00e1v v dejin\u00e1ch filmu.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube aligncenter wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Wedding Banquet Official Trailer #1 - Winston Chao Movie (1993) HD\" width=\"1333\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/5kVkRhXt3S4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>Ang Lee: Svadobn\u00e1 hostina<\/strong><\/p>\n\n\n\n<p><strong>Text<\/strong>: <strong>Krist\u00edna Aschenbrennerov\u00e1 (<\/strong>dramaturgi\u010dka cyklu Taiwansk\u00e1 sez\u00f3na, pracuje v&nbsp;Slovenskom filmovom \u00fastave)<\/p>\n\n\n\n<p>Hoci Taiwan (\u010c\u00ednska republika) nie je \u010dlensk\u00fdm \u0161t\u00e1tom OSN a&nbsp;z&nbsp;h\u013eadiska medzin\u00e1rodn\u00e9ho pr\u00e1va uzn\u00e1va existenciu suver\u00e9nnej \u010c\u00ednskej republiky ani nie 20 kraj\u00edn sveta, patr\u00ed medzi krajiny s&nbsp;najprogres\u00edvnej\u0161\u00edmi \u0161tandardmi pre \u017eivot LGBTI \u013eud\u00ed. Vo v\u0161eobecnosti mo\u017eno poveda\u0165, \u017ee taiwansk\u00e1 spolo\u010dnos\u0165 nepova\u017euje neheterosexu\u00e1lnu orient\u00e1ciu \u010di nebin\u00e1rnu rodovos\u0165 za problematick\u00fa.&nbsp;<\/p>\n\n\n\n<p>T\u00e9ma LGBTI m\u00e1 zast\u00fapenie aj v&nbsp;popul\u00e1rnej kult\u00fare. Plat\u00ed to ako pre&nbsp;knihy (a&nbsp;komiksy), tak aj pre telev\u00edziu a&nbsp;film. Spome\u0148me spisovate\u013eku Qiu Miaojin a jej <em>N<\/em><em>otes of a&nbsp;Crocodile<\/em>,<em> Letters from Montmartre<\/em> a&nbsp;<em>Last Words from Montmartre<\/em> alebo rom\u00e1n <em>Crystal Boys<\/em> (Pai Hsien-yung, 1983; doslovn\u00fd preklad z&nbsp;\u010d\u00edn\u0161tiny by bol \u201eSynovia hriechu\u201c alebo \u201eHrie\u0161ni synovia\u201c), pod\u013ea ktor\u00e9ho vznikol film <em>Outcasts <\/em>(r. Kan Ping Yu, 1986) i ob\u013e\u00faben\u00e1 rovnomenn\u00e1 telev\u00edzna minis\u00e9ria (2003). Hoci re\u017eis\u00e9r Tsai Ming Liang p\u00f4vodne odmietal pre svoje filmy n\u00e1lepku \u201eLGBT\u201c, jeho tvorba je pln\u00e1 nebin\u00e1rnych post\u00e1v (napr. <em>Zbohom, Dra\u010dia br\u00e1na<\/em>, 2003; <em>Chu\u0165 mel\u00f3nov<\/em>, 2005; <em>Nechcem spa\u0165 s\u00e1m<\/em>, 2006), pri\u010dom \u0161t\u00fdlovo prech\u00e1dza od priam a\u017e meditat\u00edvneho civilizmu ku campu. Jeho posledn\u00e9 filmy s\u00fa v\u00fdrazne ovplyvnen\u00e9 zen-budhizmom. Za pozornos\u0165 rozhodne stoj\u00ed aj dokument\u00e1rna i hran\u00e1 tvorba re\u017eis\u00e9rky Zero Chou. Jej azda najzn\u00e1mej\u0161\u00edm filmom s\u00fa <em>Spider Lilies<\/em> (2007), ocenen\u00e9 Medved\u00edkom Teddym na Berlinale 2007.<\/p>\n\n\n\n<p>Ang Lee, ktor\u00fd m\u00e1 na konte ve\u013emi \u00faspe\u0161n\u00fd a&nbsp;z\u00e1rove\u0148 kontroverzn\u00fd pr\u00edbeh nenaplnenej l\u00e1sky <em>Skroten\u00e1 hora<\/em> (2005), nepatr\u00ed medzi re\u017eis\u00e9rov venuj\u00facich sa t\u00e9me queer vz\u0165ahov, ale t\u00e9me vz\u0165ahov v\u0161eobecne, s v\u00fdrazne pr\u00edtomnou l\u00edniou popieran\u00fdch em\u00f3ci\u00ed a&nbsp;potl\u00e1\u010danej sexuality (Elinor vo filme <em>Rozum a cit<\/em>, Wong Chia Chi v&nbsp;sn\u00edmke <em>T\u00fa\u017eba, opatrnos\u0165<\/em>, Ennis a Jack v <em>Skrotenej hore<\/em>). <em>Svadobn\u00e1 hostina<\/em> (1993) je jeho druh\u00fdm celove\u010dern\u00fdm filmom a nach\u00e1dzame v nej nieko\u013eko autobiografick\u00fdch prvkov. Protagonista Wai Tung poch\u00e1dza rovnako ako Ang Lee z&nbsp;rodiny kontinent\u00e1lnych \u010c\u00ed\u0148anov a&nbsp;jeho otec bol vojak. Rodi\u010dia oboch, re\u017eis\u00e9ra i&nbsp;jeho fikt\u00edvneho hrdinu, odi\u0161li po prevrate na Taiwan a&nbsp;oni \u201eaktu\u00e1lne\u201c \u017eij\u00fa v Spojen\u00fdch \u0161t\u00e1toch, v New Yorku.<\/p>\n\n\n\n<p>Wai Tung je gej a&nbsp;u\u017e p\u00e4\u0165 rokov \u017eije so Simonom. Samozrejme, jeho tradi\u010dne zalo\u017een\u00ed rodi\u010dia, ktor\u00ed st\u00e1le \u017eij\u00fa na Taiwane, ni\u010d netu\u0161ia. T\u00fa\u017eia v\u0161ak po vn\u00fa\u010dati, a&nbsp;tak sa bez oh\u013eadu na vzdialenos\u0165 sna\u017eia n\u00e1js\u0165 Wai Tungovi vhodn\u00fa partnerku. Prostredn\u00edctvom zoznamovac\u00edch agent\u00far sa usiluj\u00fa naplni\u0165 viac ne\u017e nerealistick\u00e9 predstavy svojho syna o&nbsp;ide\u00e1lnej man\u017eelke. Do zabehnut\u00e9ho ritu\u00e1lu utajenia a odmietania mlad\u00fdch d\u00e1m vstupuje Wei Wei, mlad\u00e1 maliarka zo \u0160anghaja, ktor\u00e1 si od Wai Tunga prenaj\u00edma loft. Je single, nevie si udr\u017ea\u0165 pr\u00e1cu a&nbsp;jej povolenie na pobyt \u010doskoro vypr\u0161\u00ed. A je do Wai Tunga tak trochu zamilovan\u00e1. Man\u017eel s&nbsp;americk\u00fdm ob\u010dianstvom by bol ide\u00e1lnym rie\u0161en\u00edm, ktor\u00e9 by ju zachr\u00e1nilo pred n\u00e1vratom do \u010c\u00edny. A tak Simon pr\u00edde so skvel\u00fdm n\u00e1padom: Wai Tung a Wei Wei by sa mali vzia\u0165. Wei Wei by to u\u013eah\u010dilo cestu k zelenej karte a Wai Tung by uml\u010dal rodi\u010dov. Veci sa im v\u0161ak tot\u00e1lne vymkn\u00fa z r\u00fak, rodi\u010dia sa nevedia zmieri\u0165 s prostou svadbou na radnici. S\u00e9ria \u0161\u0165astn\u00fdch a ne\u0161\u0165astn\u00fdch n\u00e1hod vedie nielen k svadbe (\u010d\u00ednskych) snov, ale aj k pred\u013a\u017eeniu pobytu rodi\u010dov v improvizovanej mladoman\u017eelskej dom\u00e1cnosti (spolu so Simonom). Jedno s&nbsp;druh\u00fdm a tret\u00edm \u00faplne demoluje zam\u00fd\u0161\u013ean\u00fa eleganciu \u201edokonal\u00e9ho\u201c rie\u0161enia.&nbsp;<\/p>\n\n\n\n<p><em>Svadobn\u00e1 hostina<\/em> ako kom\u00e9dia stoj\u00ed na interakci\u00e1ch \u013eud\u00ed s r\u00f4znymi hodnotov\u00fdmi rebr\u00ed\u010dkami, r\u00f4znym ch\u00e1pan\u00edm trad\u00edcie a povinnosti vo\u010di rodine. Ist\u00fdm sp\u00f4sobom tak pripom\u00edna <em>Klietku bl\u00e1znov<\/em> (r. \u00c9douard Molinaro, 1978), resp. jej remake <em>Vt\u00e1\u010dia klietka<\/em><strong> (<\/strong>r. Mike Nichols, 1996), kde sa sn\u00fabenci sna\u017eia pred ultrakonzervat\u00edvnymi rodi\u010dmi nevesty utaji\u0165, \u017ee \u017een\u00edchovi rodi\u010dia s\u00fa vlastne otecko a otecko. Samostatn\u00fdm zdrojom humoru je samotn\u00e1 \u010d\u00ednska kult\u00fara a jej koncept zachovania si tv\u00e1re \u2013 svadba mus\u00ed by\u0165 kv\u00f4li inej rodine a&nbsp;priate\u013eom. Patr\u00ed k&nbsp;tomu primeran\u00e9 mno\u017estvo jedla, ktor\u00e9 by zas\u00fdtilo aj \u0161tvorn\u00e1sobok po\u010dtu pr\u00edtomn\u00fdch, prip\u00edjanie a\u017e do nemoty, dodr\u017eiavanie povinnost\u00ed hos\u0165a a hostite\u013ea a podobne. Ako scen\u00e1rista je Lee ve\u013emi pozorn\u00fd a popri drobnokresbe \u010d\u00ednskych osobitost\u00ed reflektuje schematickos\u0165 syst\u00e9mu vybavovania \u017eiadost\u00ed o&nbsp;zelen\u00fa kartu, ke\u010f v rozhovore s&nbsp;rodi\u010dmi aj Wei Wei, aj Wai Tung recituj\u00fa namemorovan\u00e9 fakty jeden o druhom. Reaguje aj na aktiv\u00e1ciu hnut\u00ed po\u017eaduj\u00facich a \u0161\u00edriacich inform\u00e1cie o&nbsp;HIV\/AIDS, v roku 1993 vysoko aktu\u00e1lnu. Hoci ide len o kr\u00e1tku a zdanlivo nev\u00fdznamn\u00fa sekvenciu, je z nej jasn\u00e9, \u017ee Simon spolupracuje s&nbsp;hnut\u00edm ACT UP (ru\u017eov\u00fd trojuholn\u00edk a stol\u00edk so sloganom <em>SILENCE = DEATH<\/em>).<\/p>\n\n\n\n<p><em>Svadobn\u00e1 hostina<\/em> je film, ktor\u00fd prekvap\u00ed schopnos\u0165ou postrehu a citom pre detail aj v&nbsp;chaose, do ak\u00e9ho m\u00f4\u017ee nar\u00fdchlo napl\u00e1novan\u00e1 ve\u013ekolep\u00e1 svadobn\u00e1 hostina upadn\u00fa\u0165. Neploch\u00e9 postavy dod\u00e1vaj\u00fa uverite\u013enos\u0165 aj t\u00fdm najabsurdnej\u0161\u00edm situ\u00e1ci\u00e1m.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Film je jedn\u00fdm z najlep\u0161\u00edch prostriedkov, ako pribl\u00ed\u017ei\u0165 heterosexu\u00e1lom \u017eivot LGBTI os\u00f4b a z\u00e1rove\u0148 uk\u00e1za\u0165 \u013eu\u010fom, ktor\u00ed sa vyrovn\u00e1vaj\u00fa so svojou sexualitou a rodovou identitou, \u017ee v tom nie s\u00fa sami. <\/p>\n","protected":false},"author":6,"featured_media":1992,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[254,10,13],"tags":[146,176],"class_list":["post-1991","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-kultura","category-viditelnost","tag-queer-film","tag-recenzia"],"_links":{"self":[{"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/posts\/1991","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/comments?post=1991"}],"version-history":[{"count":1,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/posts\/1991\/revisions"}],"predecessor-version":[{"id":2599,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/posts\/1991\/revisions\/2599"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/media\/1992"}],"wp:attachment":[{"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/media?parent=1991"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/categories?post=1991"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/duhovyrok.sk\/qys\/wp-json\/wp\/v2\/tags?post=1991"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}