Publishing: Preview Corner
Philosophy and Film 2 – Conference Proceedings
On May 25 and 26, 2023, as a prelude to the 13th Philosophical Film Festival, the second edition of the international conference “Philosophy and Film” was held. Even richer than the inaugural one, it featured 22 speakers from 15 different countries, spread over six diverse sessions, aptly titled after six of the eight works of Jean-Luc Godard’s “Histoire(s) du cinéma,” the central screening of the Additional Programme of the 13. PFF.
All presentations from the conference were meticulously documented, and are already available on the YouTube channel of the Philosophical Film Festival. Collecting these into a Proceedings volume is the natural next step, the culmination of this process. Currently in preparation, the Proceedings will include 10 texts by 10 renowned authors, evenly grouped into five sections, dedicated to Godard, to the language of film art, as well as to the relations between cinema on the one hand, and politics, war, and other arts, on the other hand.
As with the first, the Proceedings from the second “Philosophy and Film” conference will be published in English, within the “Phil(m)osophy” series of the Philosophical Society of Macedonia. The publication is expected to be completed by the end of the current year.
Captured Time by Andrei Tarkovsky
When we first announced it last year as part of the fundraising campaign for its publication, we introduced it under the working title “Sculpting in Time,” with a printing deadline of “November 2023,” as the third book in the “Filmosophy” series. Unfortunately, circumstances were not favorable to our plans, so this year (with a deep apology and a humble pledge), we are compelled to reannounce it under the new title “Captured Time,” with a printing deadline at the end of the year, and as the fourth book in the aforementioned series.
The delay, believe us, is not due to negligence or indiscipline, but rather a sincere desire to honor Tarkovsky’s character and legacy with the utmost dedication. As Tarkovsky himself said once, his goal in life was to transform the mud of reality into the bronze of art—such that, in the Horatian sense, outlives the temporality of existence. This is our goal as well: who knows if there will ever be, in a small community like ours, a second edition of “Captured Time.” Therefore, we want the first edition to be as rich, complete, and definitive as possible.
Through Andrej Jovanchevski’s meticulously lavish translation and a series of editorial annotations and comments (so necessary even in the Russian original, yet so absent from there and all translations!), we aim, with the Macedonian edition of “Captured Time,” to establish a foundation for a more profound communication between Tarkovsky’s artistic vision, his work, his life, and our present time, in which (as Tarkovsky often predicted) film has already attained the status of the dominant and most communicative art form.
With gratitude to the donors, we extend this promise to them and to everyone else.