CINEMATOGRAPHERS ARE CONCERNED ABOUT ISSUE OF OBSERVANCE OF ARMENIAN TYPE OF FILM

Noyan Tapan
Dec 28 2006

YEREVAN, DECEMBER 28, NOYAN TAPAN. An agreement on cooperation of the
Rotterdam, Pusan and Golden Apricot ("Voske Tsiran") film festivals
will be signed within the framework of the Rotterdam festival in
January, 2007. Susanna Haroutiunian, the Golden Apricot Artistic
Director stated about it at the December 27 press conference at
the "Urbat" club. In her words, the three-year festival won great
recognition among famous festivals and prominent figures of the
cinematography of the world. In 2006 as well, the festival presented
itself with variety of films, quality and geography. "The spectator
also considers the festival to be his own one. He waits for the
festival. The halls were full this year. The house was even full at
some hours," S.Haroutiunian mentioned.

"We develop step by step and do not satisfy ourselves with the
achieved. In this sense, the started cooperation with individual
directors, producers and festivals is important," the Artistic
Director of the festival assures. In Susanna Haroutiunian’s words,
in opposite to low-price films shown by the television and at the
cinemas, the festival is the best possibility to get acquainted
with the alternative cinematography. Films shown during the festival
days bring new breathing and freshness. Director Edgar Baghdasarian,
present at the press-conference, who is known to the audience with
his "Game" (Khagh), "Leakage" (Hosk), "Country of Hole Rituals" (Surb
Tseseri Yerkir) and "Mariam" films, finds that one may not speak about
Armenian films "in regard to one year," as the number of films being
shot during a year is too small. In his words, one must speak about
the Armenian film "at least, in regard to 10 years, though little
can be said about that term as well." In E.Baghdasarian’s words,
state interference is necessary to keep the type of the Armenian
film. In his words, the National Cinematography Center created
on the basis of "Hayfilm" must develop a policy which will assist
keeping of that type of cinematography. In the director’s words,
the Armenian cinematography needs new breathing and new word: "One
must not continuously repeat that the Armenian film is dead: the one
who states about it, is dead himself. And if some cinematographers
are not able to creat any longer and to shoot a good film, it does
not mean that the Armenian cinematography is dead."