Битеф

Brumer je stigao u moj stan sa šoferom koji je nosio TV aparate i nekoliko meni nepoznatih vedh i manjih kutija. Rekao je: „To je video." U panici sam otrčala do Televizije, Aleksandru Luju Todoroviču, stručnjaku za telekomunikacije, Objasnio mi je da je to tehnika u razvoju, u Beogradu je več ima dvoje-troje ljudi, rekao je, i postoji nekoliko sistema i nekoliko formata itd. Naučili su me da rukujem torn novinom. Mislim da je tada u Beogradu prvi put javno prikazan program na videu. Ljudi su mi prilazili i pitali šta je to. Nastavili smo - ja da organizujem Bitef na filmu, a tehnika da napreduje. I stigli smo do današnjih dana kada je lako doči do informacija, kada se radije gledaju programi u kuči na kauču uz grickalice i pice. Od kompjutera i smart telefona se mnogi ne odvajaju. Vidala sam na Kolarcu na koncertima i u pozorištu ponekog kako se zavaljen u sedištu zabavlja svojim miljenikom i ne prati šta se na pozornici odvija. Zato se osula publika, a bez publike nema i ne treba da bude Bitefa na filmu. Kada se donese takva odluka, prirodno je odlutati u prošlost, prisečati se onoga što se dešavalo i radilo. Kod kuče imam mapu s dokumentacijom o svim Bitefima na filmu. Prelistala sam je i prisetila se mnogih dogadaja, priloga, i kako sam ih nabavljala, kako su bili prihvatani od gledalaca, šta je o njima pisano. Na svoje veliko iznenadenje, shvatila sam nešto čega nišam bila svesna: ogromnog broja priloga, sjajnih autora i protagonista i bogatstva informacija koje je Bitef na filmu ponudio svojoj puhlici. Zaklopila sam mapu. Sa zadovoljstvom sam konstatovala da je jedan segment Bitefa - Bitef na filmu, sa uspehom obavio svoj zadatak. Nije svaki kraj tužan. Vera Konjovič

tapes. Two months before Bitef Mr Brummer came to my flat accompanied by his driver carrying TV sets and several unfamiliarly looking boxes of different sizes. He said: “This is a video recorder.” I panicked and rushed off to the TV station to see Aleksandar Louis Todorovič, a telecommunications expert. He explained that it was an emerging technology, that two or three people in Belgrade already had it, that there were several systems and several formats, etc. I was taught to manipulate this new technology. It was, 1 believe, the first time that a video programme was shown in Belgrade. People used to approach me and ask what it was. We went on: I to organise Bitef on Film and the technology to advance. And we arrived to this day when it is easy to get the information, when it is preferable to watch programmes at home, sitting on a couch with snacks and drinks. Many have become inseparable from their computers and smartphones. During concerts at Kolarac or in the theatre I have seen people comfortably reclining in their seats, playing with their pets and paying no attention to what goes on at the stage. That is why the audience has dwindled and without the audience there is no and there should not be Bitef on Film. When such a decision is made, it is only natural to wander off into the past and reminisce about what used to be. At home, I have my archive about all Bitefs on Film. I leafed through it and remembered many events, films and how I had got them, how they had been received by audience, what had been written about them. To my surprise, I realised something I had not been aware of: a huge number of films, great authors and a sea of information which Bitef on Film had offered its audience. I closed my album. Pleased, I concluded that one segment of Bitef - Bitef on Film - had performed its mission successfully. Not every end is sad. Vera Konjović

126