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

By Vlastimir Sudar

In the liberal West as in socialist Yugoslavia, the flicks of Aleksandar Petrovic dramatize how enforced dogmatism can corrode any political approach. A case learn of the oft-overlooked Yugoslav director’s colourful and eventful occupation, A Portrait of the Artist as a Political Dissident explores how Petrovic built particular political and social subject matters in his motion pictures. A reaction to the political vagaries of his time, those anti-dogmatic perspectives have been later to develop into an indicator of his paintings. even supposing curiosity in socialist Yugoslavia and its legacy has risen gradually because the Nineteen Nineties, the background of Yugoslav cinema has been scarcely lined, and this publication marks a clean contribution to a burgeoning quarter of interest.

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159. Dejan Kosanović, “Sto godina filma u Srbiji”, p. 159. Dejan Kosanović, “Sto godina filma u Srbiji”, p. 159; and Petar Volk, Istorija jugoslovenskog filma, p. 24. Dejan Kosanović, “Sto godina filma u Srbiji”, p. 160. Noël Burch, Life to Those Shadows (Berkeley: University of California Press, 1990), pp. 56–57, 156, 189, 236. Misha Glenny, The Balkans 1804–1999: Nationalism, War and the Great Powers (London: Granta Books, 1999), p. 2. See Noël Burch’s Life to Those Shadows. Mira and Antonín Liehm, The Most Important Art: Soviet and Eastern European Film after 1945 (Berkeley: University of California Press, 1977), p.

156. Radoslav Zelenović, “Vek filma”, in Filma Vek 1895–1995, ed. by Dejan Kosanović, pp. 16–17. Petar Volk, Istorija jugoslovenskog filma, p. 2. Radoslav Zelenović, “Vek filma”, p. 17. As “the cinematograph” was used as a projector as well as a camera, Lumière brothers’ employees, who travelled the world with this invention, often filmed short films wherever they went. Dejan Kosanović, “Sto godina filma u Srbiji”, p. 156; and Petar Volk, Istorija jugoslovenskog filma, p. 15. Dejan Kosanović, “Sto godina filma u Srbiji”, p.

Tito’s Partisans were at first unrecognised on the international political stage as a resistance movement to Nazism. 46 Tito’s Partisans therefore documented, as much as they could, their efforts against the German army in order to show the scale and ferocity of the struggle. 47 The importance of film for Tito and his Partisans was evident without the need of Lenin’s dictum to remind them, and policies on cinema were introduced while the war was still raging. 49 The two sections were amalgamated into the Film Enterprise of the People’s Republic of Yugoslavia50 in the summer of 1945.

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