RTV Theory and Practice - Special Issue

»When it is good, it influences work a great deal, it represents support or a means of overcoming ones own faults«. Dimitar Hristov, direktor TV Skoplje »Unfortunately, it is not inspiring«. Zdravko Šotra, director TV Belgrade: »A certain level of consideration exists vis-a’-vis criticism which increases the responsibility of the writer«. Radomir Subotić, director and scenarist of documentary programmes, TV playwright Novi Sad TV »It would be ideal if it pointed out, discovered, warned, stimulated, taught. Unfortunately, as it is improvised, in the main it only gets on one s nerves«. Неге are also a number of replies received from television writers: Slobodan Stojanović scenario writer (»More than the Game« serial) and Belgrade TV editor: »Criticism does not affect me as an author but it does affect me in my сараску as editor«. Zora Dirnbah, TV playwright (Zagreb): »Yes, it does influence; it discourages and leads to the conclusion that all criteria have been lost«. Siniša Pavić: »Good, objective criticism does have influence«. Vojo Babić, TV drama writer, Sarajevo: »To a certain extent, yes, although criticism has never made a writer of апуопе. It has helped me to notice a number of faults in my plays but this only refers to criticism which really goes to the heart of the work and deals less with formal questions«. Other no less interesting opinions could also be cited but let us also note those who feel neglected in TV reviews: Vasko Kadić, film editor and director of Sarajevo TV: »Observing the work of my editor collegues whose contrabution to апу given programme is quite visible, I must ask myself if there is a TV critic who can measure the contribution of the film editor, for it rarely (almost never) happens that note is made of the editor s work in television. In the reviews of апу play put on in the theatre, however, the costumes, scenery and other elements are regularly and rightfully noted. One has the impression that the TV critic is not capable of assessing the value of the film editor’s contribution in апу television programme for the simple reason that editing, neither on television nor in films, is not recognised as a creative contribution. This confusion does, however, become completely clear when TV

184