Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja:
Saved in:
| Format: | Book |
|---|---|
| Language: | Croatian |
| Published: |
Zagreb
Hrvatski Povijesni Muzej
2004
|
| Series: | Katalog muzejskih zbirki / Hrvatski Povijesni Muzej
39 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Item Description: | Zsfassung in engl. Sprache u.d.T.: Film holdings of the Collection of Photographs, Films and Negativesat the Croatian History Museum |
| Physical Description: | 79 S. Ill. 30 cm |
Staff View
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Record in the Search Index
| _version_ | 1806961876242792448 |
|---|---|
| adam_text |
SADRŽAJ
7
Predgovor
9 0
zbirci
14 0
filmu
-
povijesni oris
15
Osnovne karakteristike filmskog materijala
19
Fond filmske građe
21
Stručna obrada muzejske građe
25
Dokumentarni film
29
Fond filmske građe njemačke proizvodnje
33
Filmska građa Nezavisne Države Hrvatske
39
Dokumentarni partizanski filmovi
45
Fond filmske građe savezničke proizvodnje
47
Nastavni filmovi
50
Katalog
70
Summary
77
Literatura
78
Kazalo imena
FILM HOLDINGS OF THE COLLECTION OF
PHOTOGRAPHS, FILMS AND NEGATIVES
AT THE CROATIAN HISTORY MUSEUM
(Summary)
The aim of collecting original film material (film holdings) as museum
objects dates back to the very beginnings of the Collection of Photographs,
Films and Negatives at the Croatian History Museum. Since the collection
was established in a specialised museum institution (The Museum of
National Liberation) that collected "testaments relating to the workers'
movement, the war of national liberation, the socialist revolution and
socialist construction", all the collected film holdings are linked with pre¬
defined themes.
Today, the Collection of Photographs, Films and Negatives is one of
thirteen collections of museum objects at the Croatian History
Museum. The motive for gathering photographs, films and negatives
was documentation, the aim illustration, while the task of the museum was
storage and protection, as well as valorisation and
systématisation.
The pro¬
cedure for systematising the collection was developed and implemented by
its seasoned curator
Ruda Polšak.
The collection is divided, as its very name
suggests, into sections with photographs, negatives and films. With respect
to the way in which photographs were originated, they are, in turn, divided
into originals and reproductions, which are separately entered into invento¬
ry books and separately archived (for internal use). A second division was
carried out with respect to the content of the photographs (time and place of
origin, the event and people in the photographs), and for the needs of the
files in which all photographs (both original and reproductions, namely their
working copies) are grouped according to a precisely determined groups
according to time of origin and content (for public use). Negatives carry the
same inventory number as the photographs that were made from them
(including negatives made by copying), and are stored in the museum store¬
room. In
1986,
as a reflection of the change in the social and political cli¬
mate, a large number of original negatives and photographs made by per¬
sons from the Photographic Service of the government of the Independent
State of Croatia in WWII were separated from the collection in order to cre¬
ate a special section of so-called enemy holdings and its professional study
was initiated (up to that time, photographs of Ustashe officials and soldiers
were not supposed to be shown at exhibitions). Another segment of photo¬
graphic holdings was formed at the beginning of
1991.
These are photo¬
graphs and negatives from the Homeland War
(1991-1995).
Furthermore, the
Collection received the entire photographic holdings of the Collection of
Socialist Construction of the former Museum of the Revolution of the People
of Croatia. Unfortunately, we cannot with any certainty determine when the
first films came to the Museum and were given the status of museum objects.
The Polish photographer and cameraman
Boleslav
Matuszewski
is
considered to be the originator of the idea of organised collecting
and storing of film materials as historical documents. In his brochure
Une nouvelle
source
d'historié (New
historical sources), published in Paris
in
1898,
he wrote: "it is necessary to provide this, perhaps privileged, his¬
torical source the same importance, status in society and accessibility as
other archives that are already well known."
In line with this, film materials that by the very nature of their ori¬
gin truly and compellingly depict the reality of a past time have
received in the Museum the role of an object that documents certain
historical phenomena and processes, as well as serving as a source for their
study. Through the fact that they show people and events contemporary to
"
the moment of photographing, with the passage of time they have become
a part of the past they depict, and by virtue of this, they have also become
a significant source of information about a certain time, location and peo¬
ple. In other words, a photograph as such as a part of the past has a histor-
_
ical value, and it is at the same time the bearer of content that is a source
for studying this history. It is from this that its historical, documentary and
museum value derives.
Film holdings that are kept at the Croatian History Museum with the ^
status of original museum objects are an exceptional example of the
collecting practices of Croatian museums and are an important seg¬
ment of the national holdings of the Croatian film heritage.
,_,
The basic characteristics of film material
Film is a transparent ribbon of celluloid mass on which a light-sen¬
sitive layer is fixed using a gelatinous base. With respect to the width
of film expressed in millimetres, we distinguish standardised film
formats of
8, 9.5, 16
and
35
millimetres. Narrow films of all formats use an
acetyl
cellulose film that is not easily inflammable (non-inflammable film).
Broad
35
mm film is usually made from nitrocellulose, which is easily
inflammable and explosive (inflammable film).
In order to obtain the necessary number of film copies for distribu¬
tors and other users, the edited and chemically treated film material
(film negative) needs to be copied. The method of copying film
depends on the purpose and type of film material. By copying the original
negative to a special positive film we can obtain a limited number of pos¬
itive copies (approximately
50
copies). If one wishes to obtain more copies,
the original negative is used to make intermediate (inter-positive) copies
that are, in turn, used to make duplicates of the negative (double negatives).
Double negatives are then used to make the required number of copies. In
amateur cinematography the inverse method is used. This is a procedure
where a positive is obtained directly, without negatives or copying
-
after
filming, the film undergoes a process of chemical treatment and is turned
into a positive. This type of positive is one of a kind.
Because of its chemical composition and sensitive physical structure,
films are susceptible to various types of damage. Damage can be me¬
chanical or biochemical. Mechanical damage can occur on the film
and emulsion, on the audio recording or the perforations. It occurs while
handling the film, because of dust and improper cleaning of dust, because
of improper storage of the film, defective recording, editing and showing
apparatus, as well as by improper placement of film in the apparatus.
The film holdings
According to origin (country of origin), the film holdings of the
Collection of Photographs, Films and Negatives of the Croatian History
Museum can be divided into German
(26
films), Independent State of
Croatia
(1
film), Allied
(2
British films) and partisan
(8
films) productions.
Another section consists of documentary, educational films
(38
films) pro¬
duced after
1945
in the former Yugoslavia that were included in the
Collection after
1996.
They include
4
Soviet and
1
British production. In
2001
the Collection received
5
documentary films that were kept in the Collection
of Socialist Construction (contemporary) of the former Museum of the
Revolution of the People of Croatia (a total of
78
films). Films acquired over
the past
40
years or so came to the Museum mainly through bequests or pur¬
chase. They are stored in Museum storerooms, which, unfortunately, do not
meet optimum conditions for the storage of film material.
The basic specific features of film holdings with respect to other
types of conventional museum objects is the necessity of having a
film projector for showing and studying the content, as well as ha¬
ving a number of copies of the same content and a soundtrack that inter¬
prets the content of the film. At the same time, these holdings are, because
of their sensitive physical and chemical structure and the way they were
made, susceptible to a more rapid decay and destruction with respect to
other types of museum holdings.
Film as a medium is intended for mass use (except 8mm amateur films,
which are not intended for commercial use or frequent showings), it is
produced in a number of identical copies (film copies) that are distrib¬
uted to various users. However, many films made during World War II (and
before) were destroyed after the war or sold as raw materials for the manu¬
facture of buttons and rubber footwear. The reason for this was not only in
the inability to recognise the cinematographic value of films that were out of
date for commercial, but also in "the rigidity of the political system with
respect to cultural products derived from a different cultural and political phi¬
losophy". In that period almost all film material that was in Croatia, regard¬
less of year and country of production, was moved for "safekeeping" in the
Yugoslav Film Archives in Belgrade. This certainly makes the film holdings
of the Croatian History Museum all the more valuable.
Film consists of an image, which represents authentic film material,
and a soundtrack that interprets it in line with the basic idea of the
film. In other words, individual shots that make up a film are obvious,
but their interpretation is in line with the socio-political and historical valori¬
sation of individual events and persons at the time it was made. However, this
does not mean that the soundtrack as such should be neglected. Far from it,
because it is also important since it speaks about the socio-political climate
at the time in which the films were made.
I. Film material produced in Germany
The holdings of film material produced in Germany dating back to
World War II are the most numerous: they contain
24
German war
newsreels titled
Weltspiegel -
Mirror of the World
(22
soundtrack
copies on
16
mm and two positive copies on
8
mm film), a total of
27
films. Film newsreels practically had the same task as the press: to record
important and interesting events from contemporary life; but, as a means
of mass communication they were always more interesting to a broader
audience than the press. The average viewer feels like an eyewitness to the
events he watches, and there is almost no doubt with respect to its credi¬
bility (the camera cannot lie). Those who commissioned and made these
newsreels used precisely these facts to make them a powerful means of
political propaganda.
German war newsreels under the name of
Weltspiegel
were made by
the Department of narrow films of the German company TOBIS-
DEGETO (Deutsche
Gesellschaft für
Ton
und
Film
-
The German
Company for Sound and Film within the film service of the Wermaht
-
the
German armed forces). These are black-and-white films on 16-millimetre
film lasting for
4
to
5
minutes each. The soundtrack and the captions are in
German.
They were produced at the order of the ruling circles and served
exclusively for propaganda purposes. Individual authentic shots were
carefully edited with the aim of presenting a reality according to the
masters' wishes: there is no killing, there are no concentration camps, no
wounded, no hunger, just victorious battles, the heroism of German soldiers
and happy families. They were developed immediately on location where
they were filmed and hundreds of copies were made and distributed all over
Europe. They were shown in cinemas before feature films in all occupied
Τ"
countries with commentaries in some dozen languages.
'
^
In
1991
all newsreels were viewed at the Croatian Film Archive, whose
basic function is to collect, catalogue, preserve and protect film mate¬
rials that are of historical, cultural and scientific interest for the deve¬
lopment of cinematography, and which is made up of the national holdings
■_-
of Croatia. We determined that the newsreels were in fairly good condition,
' '
mainly due to the fact that they were not used. As a protective measure, a
double negative and a copy was made of each individual newsreel. The
Museum received one copy of each newsreel, while the negatives of the pro-
)=[
tected films were left for permanent safekeeping at the Croatian Film Archive.
II. Film material from the Independent State of Croatia i=!
The degree of importance that the Independent State of Croatia
(1941-1945)
attributed to film as a credible means of political pro-
>_>
paganda can be seen, amongst others, from the fact that already on
April 23rd
1941,
namely only two weeks after the state was proclaimed, the
Directorate for Film was established at the State Secretariat fro National
Enlightenment, with the task of placing under control the entire cinemato- !=i
graphic sector (the production of films, distribution and cinemas).
In August of the same year, the production of newsreels started on
the model of Italian and German newsreels. Initially called
Hrvatska
,_,
u riječi i slici
(Croatia in words and images), the newsreels were made
' '
every
14
days in only
4
copies and shown in cinemas as additions to
German and Italian newsreels. They presented significant events from poli¬
tical, cultural and sporting life in Croatia. After the 100th edition, the news-
'—'
reel's name was changed to
Hrvatski slikopisni pregled
(Croatian Film
Review). Production was modernised using up to date technology imported
from Germany, the number of copies was increased (to about
10),
and the
interval between newsreels was shortened (to one every
7
days). Their con¬
tent was enlarged using film material from Germany. The last Croatian Film
Review was issued on May 5th
1945,
only three days before units of the
Yugoslav Army entered Zagreb.
One of these newsreels, to be more precise
Hrvatska u riječi i slici,
newsreel number
78
from June
1943
is in our Collection (inventory
number
8845).
It was purchased in
1975
from Mr.
Tomislav
Kendjel
from
Karlovac.
It is especially valuable since almost all newsreels from the
Independent State of Croatia were moved to the Yugoslav Film Archive in
Belgrade after World War II. This is a copy with sound on 35-millimetre
film lasting eight and a half minutes. It shows events from June: head of
state Dr. Ante
Pavelić
opening the War Museum and Archive on June
2nd;
the celebrations of St. Anthony's Feast on June 13th: awards to Croatian
writers and artists; a Croatian Athletic Association tournament at the
Concordia
Stadium; a football match in Bratislava; a children's race on
scooters and tricycles organised by the male and female headquarters of the
Ustashe Youth.
After reviewing this material at the Croatian Film Archive in
1991,
it
was left there on permanent deposit (this is an inflammable film that
requires certain storage conditions that cannot be met in our mu¬
seum storerooms). The Museum received a copy on
VHS
tape and retained
ownership of the newsreel.
II. Partisan documentary films
All partisan documentary films in our Collection are amateur films
shot on 8-millimetre film, a format that is usual for this type of film.
The poor technical quality and frequent mechanical damage to the <
film do not diminish their value as exceptional film documents about the
S
time in which they were made. They were not directed, but were created as
the result of the aim of the individual cameramen to record moments in
which they participated.
The beginnings of partisan cinematography can be traced only from
October
1943,
when the General Headquarters of the Army of
National Liberation and Yugoslav Partisan Units decided to film do¬
cuments from the War of National Liberation. Within the framework of the
Propaganda Section of the General HQ, the first partisan film unit was set
up with two cameras. The first film material, some
500
metres of film with
scenes of fighting and representatives of the national authorities was sent
to the Allies, but it was burned after German bombing, together with the
airplane on
Glamoč
Field on November 27th
1943.
First film cameras were either captured from the enemy (as war tro¬
phies) or brought by cameramen who were part of Allied military
missions. Their cameras recorded the first film footage from the War
of National Liberation. In this way the British cameramen
Slade
and
Pery
Fower filmed the first footage of the Supreme Commander of the Army of
National Liberation and Yugoslav Partisan Units,
Josip
Broz Tito at
Drvar
on May 14th
1944,
while James Goodwin and L.T.P. Hopkins filmed parti¬
sans and British soldiers on the island of Vis in August
1944.
Soviet ca¬
meramen recorded scenes from the battle on
Kozara
Mountain, scenes from
partisan life, the wounded being carried over the river
Neretva
and scenes
from the battle at Sutjeska. The filmed material was sent to Allied countries
and edited into newsreels that were shown in cinemas. The crew from
"Merlin film com." shot documentary films about the War of National
Liberation and the Yugoslav refugee camp at El Shatt in Egypt. The head of
the film crew was
Muir
Mathieson.
In the last year of the war, partisan film cameras were much more
organised in the way they followed and recorded battles for the libe¬
ration of the country (from Belgrade and the front in
Srijem
to the
liberation of Zagreb), as well as the capture of enemy soldiers. This was the
result of a greater level of organisation in the sphere of filmmaking that
stemmed from the founding of the State Film Company of the Democratic
Federal Yugoslavia in liberated Belgrade on November 20th
1944.
It took
over the tasks and the operations of the Film Section of the General Head¬
quarters. In capitals of the republics of Yugoslavia, separate directorates of
this company were established.
Immediately after the liberation of Zagreb (May 9th
1945)
the premi¬
ses and the inventory of the Croatian Film Review and the German
UFE
were taken over. This enabled the founding of the Film Direc¬
torate for Croatia and the continuation of production of short and fullength
films as well as their distribution. At the same time a new series of news-
reels was initiated under the name
Filmske novosti.
The first ten newsreels
were produced in Zagreb, and then the production was moved to Belgrade.
In the second half of
1945
a part of the film equipment from Zagreb was
moved to Belgrade, as well as "a good part of the archives of the film neg¬
atives of the
Hrvatski slikopis
(including unreleased footage of exceptional
documentary value)"
.
"that was moved to
Borovo
to serve as raw mate¬
rials in the
Bata
factory for the manufacture of badly needed rubber
footwear."
It would be difficult, and probably also out of place, to single out any
of the partisan 8-millimetre films from our Collection as the best,
most significant or highest quality film. Almost all were shot during
the liberation of Zagreb or immediately following liberation and they pro¬
vide documents of the entrance of partisans into Zagreb, the great meeting
of liberation of the city and the country, the first parade of the units of the
Yugoslav Army, the Congress of the Women's Antifascist Front of Croatia
in Zagreb, the first days in liberated
Mostar
and the Third Session of the
Antifascist Council of National Liberation of Yugoslavia in Belgrade. The in¬
tention of the authors
(Antun Crnolatac,
Bronzán,
Tomazetić, Mladen Ive-
tin
kovič)
to permanently record, using a camera, events from those fateful days ^
has left us with precious testimonies and first-class historical documents.
After reviewing the material in the Croatian Film Archive, the pro¬
fessional staff there have singled out as the most valuable 8-milli¬
metre films from the Collection the Liberation of the Country (Oslo-
<_-
bođenje zemlje),
inventory number
8834,
and The Liberation of Zagreb ^
(Oslobođenje Zagreba),
inventory number
8838.
The first was bought from
Mrs
Olga Bronzán,
and shows the entrance of partisan units into liberated
Zagreb, the moments from the first military parade on Ban
Josip Jelačić ^
Square on May 13th
1945,
as well as a journey by train through Slovenia
to the Austrian border. The second film was made by
Antun
Crnolatac and
also shows the entrance of partisans into Zagreb.
III. Films produced by the Allies
Allied documentary films are not numerous (three documentary films,
' '
one of them American and two British), but are exceptionally valu¬
able since they are probably the only ones of their kind in Croatia.
Under the direction of the Ministry of War and the Bureau of War ^
Information, films were made in the United States even before it officially
entered the war.
"As a brilliant model of enormous potential of film as a medium in
the spiritual mobilisation of the population, a special place in the his- ^
tory
of documentary films" is reserved for six episodes under the title
Why We Fight? by the American director Frank
Capra,
who was of Italian
origin. These were made during World War II
(1941-1945)
using authentic
>_>
film material from Britain, the USA, Russia and Germany. Our Collection
' '
holds the fifth episode titled Fight for Russia, inventory number
8846.
It is a
soundtrack copy that has been preserved in very good condition; it is a 35-
millimetre film that runs for
18
minutes. The producer at the beginning of
the film is given as Signal Corps Army Pictorial,
Un film
Phoenix,
Londres.
The soundtrack is in Serbo-Croatian. It shows events in Russia from June
12th
1941
(Hitler's attack on the USSR) to the end
ofthat
year, with spe¬
cial emphasis on (praising) the role of the British forces (navy, air force and
army) in fighting Germany. It ends with the United States entering the war
and the situation on the Russian front.
The British documentary film (A Ministry of Information film R.A.F.
&
British Army) The nine hundred, inventory number
8839,
is a
soundtrack copy on 16-millimetre film running for
18
minutes and
50
seconds. The soundtrack is in English. It shows events from
1944:
par¬
tisan units, fighting against the enemy, the army helping with work in the
fields, organising the evacuation of
900
wounded by airplanes from the
interior to the island of Vis and further on to refugee camps and hospitals
in Italy, as well as the arrival of
Josip
Broz Tito on Vis. The first scenes in
the film were shot according to a defined script, and Croatian soldiers, dres¬
sed in clean uniforms, well armed and equipped with all sorts of equipment
play (fairly well) themselves. According to the final caption (in English) the
film was Photographed by Combat camera units of the Mediterranean Al¬
lied Air Forces R.A.F. and
Brìtish
Army film units. The third documentary
film is the British The star and the sand, inventory number
12526,
directed
by the British director Gilbert Gunn. It shows the way life was organised in
the partisan refugee camp at El Shatt in Egypt.
IV. Educational films
Before
1991,
the Museum of the Revolution of the People of Croatia
(now an integral part of the Croatian History Museum) had a special
screening room where educational films were shown as additional
material
during museum visits. These short documentary films made with
the aim of "educating" could be viewed by all groups of visitors, who could
choose what they wanted to see, but only by appointment. The selection of
films was tailored with respect to the age of the visitors and their special
interest for themes treated in documentary films.
Original film and photographic material from the period of World
War II (and earlier periods) used to make these films was interpreted
in line with the rules of socio-historical valorisation of certain histo¬
rical processes, phenomena and figures at the time they were made (between
1957
and
1965).
Today, this provides them with a completely new value as
documents of a time in which they were made.
In
1982,
in collaboration with the Croatian Film Archive, the films
were cleaned and stored in proper
PVC
bags and special metal con¬
tainers. At this time it came to light that some of these films are
exceptionally valuable (early productions, made in only a few copies) and
that they represent a rarity in our film production. For this reason it was sug¬
gested that seven of these films be singled out and preserved as original
museum objects. Events from
1991
(the war, the integration of the Museum
of the Revolution with the Croatian History Museum, the elimination of the
post of the curator for the film holdings, the moving of the films from the
screening room where they were stored to specially made chests in the "small
storeroom", the inflation of interest in their content) have left the films in
the "darkness of the storeroom". It was as late as in
1996
that a Commission
of the Croatian History Museum for listing materials and petty inventory,
office materials and equipment listed inventory that relates to the screening
of films (empty reels, tin and plastic containers) as well as the films them¬
selves. On this occasion they determined that the Museum "kept"
26
educa¬
tional films and suggested that all the films be kept in the Collection of
Photographs, Films and Negatives as museum objects.
All educational films from the Collection treat, in line with the basic
tasks and the scope of operations of the Museum, themes from social
and political science, and they for the most part deal with the period
of World War II. They include several documentary films (for example
Jasenovac) and three Russian full-length feature films. Since all of them
were intended as educational, they were not divided into separate types.
The oldest of the films, the documentary film Jasenovac, inventory
number
12501
was made in May
1945.
It is the first documentary film
made in post-war Croatia. The director of the film
Gustav
Gavrin, and
the cameramen Hugo
Ribarić,
Boris Rudman and Oktavijan
Miletić
made a
black-and-white propaganda film full of pathos and euphoric and simplified
commentaries, which even today, when we set aside all the exaggerated and
historically unfounded information given in the soundtrack, leaves no one
unperturbed.
All authors dealing with the history of Croatian cinematography have
neglected the film holdings of the Collection of Photographs, Films
and Negatives for too long. However, the reason for this does not lie
in their ignorance but rather in the fact that there have been no systematic
publications of catalogues of the collections of the former Museum of the
Revolution of the People of Croatia that would provide experts and the pub¬
lic at large to gain an insight into its collections. This is precisely the aim of
this catalogue. |
| any_adam_object | 1 |
| building | Verbundindex |
| bvnumber | BV039821785 |
| ctrlnum | (OCoLC)70808115 (DE-599)BVBBV039821785 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| genre | (DE-588)4163417-2 Katalog gnd-content |
| genre_facet | Katalog |
| geographic | Zagreb / Muzeologija Kroatien (DE-588)4073841-3 gnd |
| geographic_facet | Zagreb / Muzeologija Kroatien |
| id | DE-604.BV039821785 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T01:25:31Z |
| institution | BVB |
| institution_GND | (DE-588)1024172-3 |
| language | Croatian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024681898 |
| oclc_num | 70808115 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 79 S. Ill. 30 cm |
| publishDate | 2004 |
| publishDateSearch | 2004 |
| publishDateSort | 2004 |
| publisher | Hrvatski Povijesni Muzej |
| record_format | marc |
| series2 | Katalog muzejskih zbirki / Hrvatski Povijesni Muzej |
| spelling | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja Nataša Mataušić. [Fotografije Saša Korka ...] Zagreb Hrvatski Povijesni Muzej 2004 79 S. Ill. 30 cm txt rdacontent n rdamedia nc rdacarrier Katalog muzejskih zbirki / Hrvatski Povijesni Muzej 39 Zsfassung in engl. Sprache u.d.T.: Film holdings of the Collection of Photographs, Films and Negativesat the Croatian History Museum Povijesni muzej Hrvatske (Zagreb) / Muzejske zbirke / Katalogi Hrvatski povijesni muzej (DE-588)5179206-0 gnd rswk-swf Geschichte gnd rswk-swf muzeji / filmsko gradivo / fotografije Filmska umetnost / Umetnost / Zagreb / 20.st Fotografie (DE-588)4045895-7 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Negativ Fotografie (DE-588)4347758-6 gnd rswk-swf Zagreb / Muzeologija Kroatien (DE-588)4073841-3 gnd rswk-swf (DE-588)4163417-2 Katalog gnd-content Hrvatski povijesni muzej (DE-588)5179206-0 b Kroatien (DE-588)4073841-3 g Fotografie (DE-588)4045895-7 s Film (DE-588)4017102-4 s Negativ Fotografie (DE-588)4347758-6 s Geschichte z DE-604 Mataušić, Nataša Sonstige oth Povijesni muzej Hrvatske Sonstige (DE-588)1024172-3 oth Hrvatski Povijesni Muzej Katalog muzejskih zbirki 39 (DE-604)BV011152653 39 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024681898&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024681898&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja Povijesni muzej Hrvatske (Zagreb) / Muzejske zbirke / Katalogi Hrvatski povijesni muzej (DE-588)5179206-0 gnd muzeji / filmsko gradivo / fotografije Filmska umetnost / Umetnost / Zagreb / 20.st Fotografie (DE-588)4045895-7 gnd Film (DE-588)4017102-4 gnd Negativ Fotografie (DE-588)4347758-6 gnd |
| subject_GND | (DE-588)5179206-0 (DE-588)4045895-7 (DE-588)4017102-4 (DE-588)4347758-6 (DE-588)4073841-3 (DE-588)4163417-2 |
| title | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja |
| title_auth | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja |
| title_exact_search | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja |
| title_full | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja Nataša Mataušić. [Fotografije Saša Korka ...] |
| title_fullStr | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja Nataša Mataušić. [Fotografije Saša Korka ...] |
| title_full_unstemmed | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja Nataša Mataušić. [Fotografije Saša Korka ...] |
| title_short | Fond filmske građe u Zbirci Fotografija, Filmova i Negativa Hrvatskog Povijesnog Muzeja |
| title_sort | fond filmske grade u zbirci fotografija filmova i negativa hrvatskog povijesnog muzeja |
| topic | Povijesni muzej Hrvatske (Zagreb) / Muzejske zbirke / Katalogi Hrvatski povijesni muzej (DE-588)5179206-0 gnd muzeji / filmsko gradivo / fotografije Filmska umetnost / Umetnost / Zagreb / 20.st Fotografie (DE-588)4045895-7 gnd Film (DE-588)4017102-4 gnd Negativ Fotografie (DE-588)4347758-6 gnd |
| topic_facet | Povijesni muzej Hrvatske (Zagreb) / Muzejske zbirke / Katalogi Hrvatski povijesni muzej muzeji / filmsko gradivo / fotografije Filmska umetnost / Umetnost / Zagreb / 20.st Fotografie Film Negativ Fotografie Zagreb / Muzeologija Kroatien Katalog |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024681898&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024681898&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV011152653 |
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