In nature, under the sunlight, the protagonists in the short documentary film How I Waited for the Sun become part of still lifes on benches, chairs, and loungers—waiting quietly in the embrace of silence and recalling memories. These still lifes hint at silence, anticipation, and deep memory processes occurring in the moment of waiting. The master's thesis focuses on creativity and heritage left behind by Vilko Filač, a Slovenian master of film cinematography. It analyzes and interprets his work within the context of memory, the significance of light, and color tones, which are key elements of film aesthetics and storytelling.
Furthermore, the research delves into the connection between memory and cinematic language, using examples from various film productions where Filač collaborated as a director of photography, alongside theoretical foundations in film studies. This creates a conceptual framework for understanding how cinematic language can express and preserve memories, and how memories materialize through visual, auditory, and symbolic elements of film. Examples from different films, featuring motifs of memory, silence, reflections, and identity, serve as comparative outlines for analyzing and understanding these complex connections.
For the primary case study, I selected my own authorial film How I Waited for the Sun, which I comprehensively analyze within the scope of my master’s thesis. Through this analytical approach, I explore and illuminate moments of creation, reflection, and emotions related to the theme of memory, aiming to reveal how my personal creative process reflects and co-creates the theme of memory within the cinematic medium. In doing so, I investigate how films engage with subjective memory on the level of conception and production, how personal and collective remembrance transforms into cinematic expressions, and how these expressions participate in shaping cultural heritage.
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