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On this year’s edition of international review of Internet and film, Videovortex conference that would take place in Split, Croatia, Ana Peraica would speak on film materials of her grandfather, Antonio Perajica. A part of movies that Nazi's were mentioning talking on „… groups of bandits operating on the territory of ex-Yugoslavia and Italy on whom we hold original movie materials, in possession of German Army…“ and Yugoslavian secret services claimed they cannot find them, have staid encrypted in the life motto of Antonio to his granddaughter to „watch over the film!“ or – to mind the tape and always move on, and on.. Bunkered in a stone vase underground, and the then on mother's store-room, these 9 movie tapes on Agfa 16mm were stored immediately after the war, and in 1984 moved on another location by author's son Dražen, while in his year, with great assistance of colleagues, seen by granddaughter Ana. Movies are of a diary type - confirming author's arrival from Italy, which together with the evidence in possession of Belgrade movie theorists prove his arrival from the very cradle of European cinematography – Cinecitta in Rome.
On movies, aside arrival by boat from Italy, bombarding of the city of Split are also whole actions of the 1st Proletarian brigade in which Perajica became a Commissar of Photography and Film Section in 1943. Also, on them Josip Broz Tito and Cardinal Alojzije Stepinac (believed to be assassinated by Tito) appear together, as well as military actions around Trieste.
The discovery of movies are already in announcement in magazines for contemporary art Springerin and texts to go to acknowledged magazines as Afterimage, from the very centre of photographic culture and Kodak factory, Rochester known as the „city of images“ as well as the magazine for photography Silvershotz. The interest for them has been expressed by museum of history of Croatia and Serbia and couple of TV companies, as well as Slovenian and Hungarian producers. The movie would have the world premiere on the project Smuggling Anthologies carried together by Trieste Contemporanea, City Gallery of Labin and independent initiative in Piran with curatorial team; Giuliana Carbi, Vasja Nagy and Sabina Salomon. For the same occasion an introductory movie would be shot by an artist Dalibor Martinis.
Antonio Perajica (1. 6. 1915, Meserice – 25. 12. 1992, Split), movie cameraman and photographer, began working as an apprentice being only six years old, with his tenth he has already signing his first photo – of boys on Split's beach Bacvice. Till his twentieth he worked for ateliers Borovic, known for their famous commercials, atelier Dvornik and atelier of Zadar's photographer Sinobad. Early serials include photo-postcards of cities of Split, Dubrovnik, Šibenik, Mostar. From that time also is the portrait of the last hajduk exists. From 1936, when the last photo is dated, and according to writings of the war companion and a member of Film section Dušan Đurić, who was also one of directors of Belgrade film, as well as according to a documentation in Yugoslavian film library, Perajica „worked as a movie operator in labour of Cine Citta for seven years. He also worked on journals.“ Movie theorist of the WW2 Stevan Jovićić assumes this refers to memories of fighters that „with over-sea brigades one movie cameraman arrived.“
At this moment this can be only documented with a big collection of Leica cameras and lenses (seven in total) as well as a with possession of a personal movie camera, with which he entered the war.
Also, there are filmed records that 1943 he went over the sea, passing nearby a bombarded city pretty much alike Ancona. This has also staid recorded along with movie shots of swimming on the beach of bombarded city of Split.
In partisan war Perajica becomes a Commissar of Film and Photo section of a leading 1st Proletarian Brigade. Cameras are following a way over Hinterland, Bosnia, to Zagreb, and even further to Trieste over Postojna in Slovenia, in a total length of 45 minutes, while photographs are following same locations, including partisan parties.
A part of photographs was confiscated by UDBA (Yugoslavian intelligence agency) and part destroyed, but a great deal remained that can show important locations of 1st. Proletarian. On many of them the author appears himself. Contrary to photographs, movie collection has staid untouched. Only two of eleven tapes were given to authorities, while the rest was put under the ground in the stone vase remaining the family secret till 2009.
After the war he continued working for the Film section of the Yugoslavian Military Navy in Rijeka, for a short period, and then came back to Split to his wife Ankica Kuzmanić, their best man was an Italian photographer Turi Quattrocchi from Fototecnica Carducci in Trieste. Starting 1947 he worked for Foto R.V.I on photographic materials in preparations for graphics of artist Vladimir Kirin, till 1949, when starting working for Croatian National Theatre in Split, where his presence was felt in the line of operetta Splis'ki Akvarel „You can take your shoot at Perajica!“ Because of simultaneous presence on several locations; newspapers, theatre, also holding a private atelier founded immediately after the war on the very centre of Diocletian's Palace – Peristil, he become a synonym for the „photographer.“ For a long time he was leading the association of craftsmanship of photography.
Loosing his wife in 1964, because of movies, he staid a widower with three children, quitting his work for newspapers, theatre and different art projects, staying to work only in craftsman photography. Though definitely the most schooled photographer among local photographers, a pupil of the very centre of European Cinematography, a master of retouch on negatives, which was very hard to discover and on which portraits in National Theatre speak enough, as well as bon vivant photographer Antonio Perajica was systematically erased from all overviews as Overview of film in Dalmatia, History of Photography in Split, but even from National theatre monograph where he left fifteen years of his life, being one of only four photographers.
Contrary to his fellows war movie cameramen which abandoned their profession feeling sick of pressures of secret services, on which text by Jovičić speaks, he did not leave photography till the very end of his life, to the contrary he has managed to forward his childish love to future generations. Antonio Perajica is father of a photographer of architecture and a portraitist Dražen Perajica and a grandfather of a theorist of photography Ana Peraica, who will speak on grandfather's works on this very occasion.
Na ovogodišnjem svjetskom pregledu Interneta i filma, konferenciji Video Vortex koja će se održati u Splitu Ana Peraica će govoriti o filmskim materijalima svoga djede, Antonija Perajice. Dio filmova koje spominju Nacisti govoreći o "... o bandama koje operišu na teritoriji bivše Jugoslavije i Italije svedoče originalni filmski materijali, a koji se nalaze u rukama nemačke vojske...," a Jugoslovenske tajne službe tvrde kako ih ne mogu naći, ostao je pod životnom uputom Antonija svojoj unuci da „čuva film!“ odnosno – štedi traku i uvijek ide dalje, dalje. BunkeriranI u kamenici, a onda u maminoj špajzi, 9 filmskih traka na Agfa 16mm koje je autor zakopao odmah nakon rata, a 1984 premjestio njegov sin Dražen, ove godine uz pomoć kolega, pregledala je unuka Ana.
Filmovi su dnevnički zapisi koji potvrđuju autorov dolazak iz Italije, prema dokazima kojeimaju Beogradski filmski teoretičari, iz kolijevke Europske kinematografije - Cinecitta u Rimu. Na njima se, osim dolaska morem iz Italije, kupanja nakon bombardiranja Splita nalaze i cijele akcije 1.Proleterske brigade, u kojoj 1943 Perajica postoje Rukovoditelj sekcije fotografije i filma. Također, na njima se nalaze zajedno i Josip Broz Tito i Alojzije Stepinac, te vojne akcije oko Trsta.
Otkriće filma je već u objavi časopisima za suvremenu umjetnost Springerin (Austrija), a tekstovi također idu i u poznate časopise Afterimage iz samog centra fotografske kulture iKodak tvrtke, Rochestera ili „grada fotografije“, te u vodeći časopis za fotografiju Silvershotz. Interes za njega su pokazali povijesni muzeji Hrvatske i Srbije te nekoliko televizijskih kuća, i Slovenski i Mađarski producenti. Film će nakon digitalizacije prvo biti prikazan na projektu Smuggling Anthologies (Prošvercane antologije) kojega nose zajedno Trieste Contemporanea, Galerija Gradska u Labinu i nezavisna inicijativa u Piranu sa kustoskim timom u sastavu: Giuliana Carbi, Vasja Nagy, Sabina Salomon. Za istu prigodu uvodni film će snimiti umjetnik Dalibor Martinis
Antonio Perajica (1. 6. 1915, Meserice – 25. 12. 1992, Split), filmski snimatelj i fotograf, je počeo raditi kao fotografski šegrt sa tek šest godina života, da bi sa deset potpisao svoju prvu fotografiju - dječaka na Splitskim Bačvicama. Do svoje dvadesete godine radi za atelijere Borović, poznate po svojim novinskim reklamama, atelijer Dvornik te atelijer zadarskoga fotografa Sinobada. Najranije serije uključuju foto-razglednice iz Splita, Dubrovnika, Šibenika i Mostara. Iz toga vremena datira i portret zadnjega hajduka. Od 1936 kada je datirana zadnja foto-razglednica gubi se trag njegovome radu, a sudeći prema zapisima suborca i člana Filmske sekcije Dušana Đurića, kasnije jednog od direktora Beograd filma, te prema dokumentaciji u Jugoslavenskoj kinoteci on je „radio kao filmski operater i u laboru Cine Citta sedam godina. Radio i na žurnalu.“ Teoretičar filma 2 Svjetskog rata Stevan Jovičić pretpostavlja da se to odnosi na sjećanja boraca da je „sa prekomorskim brigadama došao i jedan filmski snimatelj.“
Zasada se to jedino može potkrijepiti velikom kolekcijom Leica kamera i objektiva (ukupno sedam), te posjedovanjem vlastite filmske kamere, sa kojima ulazi u rat. Također, postoji filmski zapis da je 1943 prešao preko mora na brodu koji je prošao pored bombardiranoga grada sličnog Anconi. Tu je također ostalo zapisano i kupanje na Bačvicama nakon bombardiranja Splita.
U NOB-u postaje Rukovoditelj filmske i foto sekcije 1 Proleterske brigade. Kamera prate put preko Zagore, Bosne, Zagreba, sve do Trsta, preko Postojne, u ukupnom trajanju od 45minuta, dok fotografijama prati lokacije, te partizanske zabave.
Dio fotografija je konfisciran od strane UDB-e, jedan dio uništen, no veliki dio koji je ostao nlocira film na sve bitne lokacije prolaska 1. Proleterske. Na velikom broju se, kao i na kraju samoga filma pojavljuje i sam autor. Za razliku od fotografija, filmska kolekcija je sačuvana gotovo u cijelosti. Samo dva od jedanaest rola je predao vlastima, dok je ostale zakopao u kamenici i ostali su obiteljska tajna sve do 2009-te.
Nakon rata kraće vrijeme nastavlja raditi za Fotosekciju JRM u Rijeci, te se vraća u Split, supruzi Ankici Kuzmanić, a kum im je talijanski fotograf Turi Quattrocchi Fototecnica Carducci iz Trsta. Od 1947 radi za Foto R.V.I na fotografskim pripremama grafika Vladimira Kirina, do 1949-te, kada počinje raditi za splitski HNK, u kojem se njegova prisutnost osjeća i u liniji Splis'kog Akvarela „Ma aj se ti lipo slikat u Perajice!“ Zbog istodobnog rada na nekoliko lokacija; novina, kazališta, te usput i privatnog atelijer kojega osniva odmah nakon rata, te ga otvara na samome Peristilu, Perajica je postalo sinonim za „fotograf“. Dugo vremena je vodio i fotografsku sekciju zanatlija.
Nakon gubitka supruge 1964-te, upravo zbog nepredanih filmova, ostao je udovac sa troje djece, te prestao djelovati za novine, kazalište i razne umjetničke projekte i ostao samo fotograf-obrtnik. Iako sigurno najškolovaniji fotograf među splitskim fotografima, đak centra Europske kinematografije, majstor retuša na negativu, kojega je bilo teško uočiti, o čemu svjedoče portreti iz HNK, te bon vivant fotograf Antonio Perajica je sustavno brisan iz svih pregleda, poput Pregleda filma u Dalmaciji, Povijesti fotografije u Splitu (koje je redom, sasvim nevjerojatno - pisala ista osoba), pa čak i iz monografije HNK u kojoj je radio preko petnaest godina i bio jedan od tek četiri fotografa.
Za razliku od ostalih kolega filmskih kamermana iz rata kojima se zbog pritisaka tajnih službi smučila kamera, o čemu svjedoči i Jovičićev tekst, nije se odrekao fotografije do samoga kraja života., već je štoviše svoju dječju ljubav uspio prebaciti na naredne generacije. Antonio Perajica je otac fotografa arhitekture i portretiste Dražena Perajice, te djeda teoretičarke fotografije Ane Peraice, koja će predavati o ovim filmovima.
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