Download A Portrait of the Artist as a Political Dissident: The Life by Vlastimir Sudar PDF

By Vlastimir Sudar

ISBN-10: 1841505455

ISBN-13: 9781841505459

In the liberal West as in socialist Yugoslavia, the flicks of Aleksandar Petrovic dramatize how enforced dogmatism can corrode any political method. A case research of the oft-overlooked Yugoslav director’s colourful and eventful profession, A Portrait of the Artist as a Political Dissident explores how Petrovic constructed particular political and social topics in his movies. A reaction to the political vagaries of his time, those anti-dogmatic perspectives have been later to develop into a hallmark of his paintings. even though curiosity in socialist Yugoslavia and its legacy has risen gradually because the Nineteen Nineties, the historical past of Yugoslav cinema has been scarcely coated, and this publication marks a clean contribution to a burgeoning zone of interest.

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Sample text

Botorić, encouraged by its success, immediately started another large “historical” production with the same crew and recipe, although the film Ulrih Celjski and Vladislav Hunjadi (1911) subsequently flopped. In itself, this would not have been such a problem had the previous film secured international distribution. Although successful at home, Pathé refused to buy it for foreign markets, and only the domestic profits could not cover the expenses. Both films also failed to receive any support from the king’s government, even though their subjects were popularising what appeared to be nationally important historical figures and events.

The Partisan unit were guarding the border when they arrested a large group of Chetniks from Montenegro who were probably trying to get through to obtain protection from the British army. The Chetniks were initially offered the chance to switch sides and join the Partisans, but this decision was revoked a few hours later with the arrival of a Partisan intelligence officer. He ordered the execution of all the Chetniks from this unit. The unit numbered around 400 people who were then all executed in groups of five within a couple of hours.

In one of his very early items, published in Film, Petrović debates the use of literary texts as the bases for film scripts. He explains: However paradoxical it may appear, the necessary pre-condition for the adaptation of poetic literary material would be the complete elimination of literary structures. 172 Further on in this essay, Petrović reiterates that cinema is “image and sound”173 confirming his belief in the need for cinema to reaffirm its own language based purely on cinematic means. In this respect, this article, published in 1951, demonstrates that Petrović’s thinking on cinema was very close to what was then of interest in film theory worldwide, specifically to the ideas then being pursued by André Bazin, the editor of Cahiers du Cinéma.

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A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic by Vlastimir Sudar


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