{"id":66059,"date":"2026-01-08T15:11:35","date_gmt":"2026-01-08T15:11:35","guid":{"rendered":"https:\/\/riff.is\/?p=66059"},"modified":"2026-01-08T15:48:41","modified_gmt":"2026-01-08T15:48:41","slug":"gullni-lundinn-sem-timavel","status":"publish","type":"post","link":"https:\/\/riff.is\/pl\/gullni-lundinn-sem-timavel\/","title":{"rendered":"Gullni lundinn sem t\u00edmav\u00e9l"},"content":{"rendered":"
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Gullni lundinn sem t\u00edmav\u00e9l:<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Hva\u00f0 a\u00f0alver\u00f0laun RIFF segja okkur um breytingar \u00ed al\u00fej\u00f3\u00f0legri kvikmyndager\u00f0<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00deegar Al\u00fej\u00f3\u00f0leg kvikmyndah\u00e1t\u00ed\u00f0 \u00ed Reykjav\u00edk setti \u00e1 keppnisflokk sinn, Wizje<\/strong>, \u00e1 laggirnar var tekin sk\u00fdr afsta\u00f0a: RIFF \u00e6tla\u00f0i ekki a\u00f0 ver\u00f0launa r\u00f3tgr\u00f3i\u00f0 or\u00f0spor heldur m\u00f6guleika framt\u00ed\u00f0ar. Eing\u00f6ngu fyrstu og a\u00f0rar kvikmyndir kvikmyndager\u00f0arf\u00f3lks voru gjaldgengar \u00ed keppnisflokkinn, n\u00fdjar raddir og verk sem komu fram sem spurningar frekar en fullm\u00f3ta\u00f0ar ni\u00f0urst\u00f6\u00f0ur. Me\u00f0 t\u00edmanum hefur \u00feessi ver\u00f0launaflokkur or\u00f0i\u00f0 a\u00f0 eins konar t\u00edmav\u00e9l \u2014 \u00e1rlegri skr\u00e1 yfir \u00fea\u00f0 hvernig al\u00fej\u00f3\u00f0leg kvikmyndager\u00f0 er a\u00f0 \u00fer\u00f3ast.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Rauns\u00e6i\u00f0 og si\u00f0fer\u00f0ileg spenna: upphafs\u00e1rin<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1 fyrstu \u00e1rum RIFF endurspeglu\u00f0u myndir sem hlutu Gullna lundann sterka tengingu vi\u00f0 evr\u00f3pskt h\u00f6fundarauns\u00e6i. The Death of Mr. Lazarescu (Cristi Puiu, 2005)<\/strong> er l\u00fdsandi d\u00e6mi: l\u00f6ng, n\u00e1kv\u00e6m fr\u00e1s\u00f6gn sem byggir spennu \u00far kerfisl\u00e6gri kulnun, mannlegu varnarleysi og si\u00f0fer\u00f0ilegri \u00f3vissu. Sl\u00edkar myndir endurspegla t\u00edma \u00feegar \u201eferskleiki\u201c f\u00f3lst \u00ed \u00fev\u00ed a\u00f0 segja samf\u00e9lagslega mikilv\u00e6gar s\u00f6gur me\u00f0 aga, \u00feolinm\u00e6\u00f0i og rauns\u00e6i. Vir\u00f0ingu fyrir forminu.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Pers\u00f3nuleg fr\u00e1s\u00f6gn og n\u00fd kynsl\u00f3\u00f0 h\u00f6funda<\/span><\/span><\/p><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Eftir \u00fev\u00ed sem l\u00ed\u00f0ur \u00e1 fyrsta \u00e1ratug aldarinnar fer \u00e1herslan a\u00f0 f\u00e6rast fr\u00e1 kerfum yfir \u00ed sj\u00e1lfsmynd. I Killed My Mother<\/i> (Xavier Dolan, 2009)<\/strong> markar sk\u00fdr kynsl\u00f3\u00f0askipti: hr\u00e1, sj\u00e1lfs\u00e6vis\u00f6guleg fr\u00e1s\u00f6gn \u00fear sem tilfinningaleg n\u00e1nd og tilraunamennska me\u00f0 formi\u00f0 fara saman. H\u00e9r birtist n\u00fd tegund kvikmyndager\u00f0ar \u00fear sem r\u00f6dd h\u00f6fundarins er jafn mikilv\u00e6g og sagan sj\u00e1lf.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Svi\u00f0i\u00f0 st\u00e6kkar \u2014 heimurinn st\u00edgur inn\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1 \u00e1runum upp \u00far 2010 ver\u00f0ur Gullni lundinn s\u00edfellt sk\u00fdrari vitnisbur\u00f0ur um breytta al\u00fej\u00f3\u00f0lega landafr\u00e6\u00f0i kvikmyndanna. Martwa natura<\/i> (Uberto Pasolini, 2013)<\/strong> s\u00fdnir hvernig f\u00e9lagsleg umbreyting, borgar\u00fer\u00f3un og pers\u00f3nuleg einangrun fl\u00e9ttast saman \u00ed lj\u00f3\u00f0r\u00e6nu en jafnframt p\u00f3lit\u00edsku myndm\u00e1li. Myndir af \u00feessu tagi sta\u00f0festa a\u00f0 deiglan sn\u00fdst ekki lengur um ja\u00f0arsetningu heldur sj\u00f3narhorn.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Hrist enn frekar upp \u00ed forminu <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Me\u00f0 t\u00edmanum ver\u00f0ur formi\u00f0 sj\u00e1lft a\u00f0 tilraunasv\u00e6\u00f0i. Bestie z Dzikiego Po\u0142udnia<\/i> (Benh Zeitlin, 2012)<\/strong> sameinar rauns\u00e6i, fantas\u00edu og \u00fej\u00f3\u00f0sagnakennda myndbyggingu \u00e1 h\u00e1tt sem hef\u00f0i varla s\u00e9st \u00e1ratug fyrr. Sl\u00edk verk s\u00fdna hvernig Gullni lundinn ver\u00f0launar ekki a\u00f0eins n\u00fdjar raddir heldur n\u00fdjar lei\u00f0ir til a\u00f0 segja s\u00f6gur.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Hr\u00e1 orka og l\u00edf \u00e1 ja\u00f0rinum<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1 s\u00ed\u00f0ari hluta \u00e1ratugarins ver\u00f0a pers\u00f3nur \u00e1 ja\u00f0ri samf\u00e9lagsins s\u00edfellt meira \u00ed forgrunni. The Rider (Chlo\u00e9 Zhao, 2017)<\/strong> er d\u00e6mi um mynd \u00fear sem m\u00f6rk heimildar og sk\u00e1ldskapar eru \u00f3lj\u00f3s, og fr\u00e1s\u00f6gnin byggir \u00e1 raunverulegri l\u00edfsreynslu. H\u00e9r er uppg\u00f6tvunin ekki formleg n\u00fdjung heldur si\u00f0fer\u00f0ilegt vald til a\u00f0 n\u00e1lgast vi\u00f0fangsefni\u00f0 og leyfa \u00fev\u00ed a\u00f0 tala \u00e1 eigin forsendum.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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N\u00fat\u00edminn: helgisi\u00f0ir, t\u00e1knm\u00e1l og v\u00ed\u00f0ari sj\u00f3narhorn<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00cd n\u00fdrri ver\u00f0launah\u00f6fum m\u00e1 greina aukna \u00e1herslu \u00e1 t\u00e1knm\u00e1l, helgisi\u00f0i og samf\u00e9lagslegt minni. This Is Not a Burial, It\u2019s a Resurrection<\/i> (Lemohang Jeremiah Mosese, 2019)<\/strong> er lj\u00f3\u00f0r\u00e6n og p\u00f3lit\u00edsk \u00ed senn, og s\u00fdnir hvernig kvikmyndir n\u00fdrrar aldar n\u00fdta hef\u00f0ir, tr\u00fa og form til a\u00f0 takast \u00e1 vi\u00f0 samt\u00edmalegar \u00e1skoranir.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Skr\u00e1setning og \u00e1ttaviti \u00ed senn<\/b><\/p>

S\u00e9 horft yfir \u00feessa \u00fer\u00f3un ver\u00f0ur lj\u00f3st a\u00f0 \u00fe\u00f3 vissulega s\u00e9 \u00feetta ekki alltaf alveg klippt og skori\u00f0, \u00fe\u00e1 fangar Gullni lundinn hvert \u00e1r a\u00f0 miklu leyti \u00fea\u00f0 sem er a\u00f0 gerast n\u00fana \u00ed al\u00fej\u00f3\u00f0legri kvikmyndager\u00f0: hva\u00f0a s\u00f6gur eru br\u00fdnar, hva\u00f0a form eru a\u00f0 \u00fer\u00f3ast og hva\u00f0a raddir kve\u00f0a s\u00e9r hlj\u00f3\u00f0s. \u00deess vegna er sagan af Gullna lundanum \u00ed dag ekki eing\u00f6ngu listi yfir sigurvegara heldur frekar eins og kort af hreyfingu, straumum og umbreytingum. Einmitt \u00feess vegna segir hann okkur svo miki\u00f0 um hvert kvikmyndalistin er a\u00f0 stefna \u00e1 hverjum t\u00edma.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Gullni lundinn sem t\u00edmav\u00e9l: Hva\u00f0 a\u00f0alver\u00f0laun RIFF segja okkur um breytingar \u00ed al\u00fej\u00f3\u00f0legri kvikmyndager\u00f0 \u00deegar Al\u00fej\u00f3\u00f0leg kvikmyndah\u00e1t\u00ed\u00f0 \u00ed Reykjav\u00edk setti \u00e1 keppnisflokk sinn, Vitranir, \u00e1 laggirnar var tekin sk\u00fdr afsta\u00f0a: […]<\/p>\n","protected":false},"author":969,"featured_media":66065,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"footnotes":"","_tec_slr_enabled":"","_tec_slr_layout":""},"categories":[9],"tags":[],"class_list":["post-66059","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"ticketed":false,"_links":{"self":[{"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/posts\/66059","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/users\/969"}],"replies":[{"embeddable":true,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/comments?post=66059"}],"version-history":[{"count":14,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/posts\/66059\/revisions"}],"predecessor-version":[{"id":66338,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/posts\/66059\/revisions\/66338"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/media\/66065"}],"wp:attachment":[{"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/media?parent=66059"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/categories?post=66059"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/riff.is\/pl\/wp-json\/wp\/v2\/tags?post=66059"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}