Vlastimir Sudar's A Portrait of the Artist as a Political Dissident: The Life PDF

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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 approach. 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 motion pictures. 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 if curiosity in socialist Yugoslavia and its legacy has risen gradually because the Nineteen Nineties, the heritage of Yugoslav cinema has been scarcely lined, and this booklet marks a clean contribution to a burgeoning quarter of interest.

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54 As in the other emerging socialist states, the lack of trained personnel and equipment was resolved by Soviet donations, while Soviet filmmakers went to these countries to produce films that could serve as training opportunities for local filmmakers. One such film made in Yugoslavia was Abram Room’s In the Mountains of Yugoslavia (V gorakh Yugoslavii/U planinama Jugoslavije) co-produced by the two countries in 1946. Among the Yugoslav filmmakers trained on this project was Vjekoslav Afrić, who worked as one of Room’s assistants and who directed the first Yugoslav post-war film, Slavica (1947), the following year.

The State 1. 1. 1. Early Cinema in Serbia and Yugoslavia A fter the Lumiére brothers had their first film screening in December 1895, it did not take long before this invention toured Europe like any other technological novelty of the time. The brothers’ employees, André Carre and Jules Giren, organised the first film screening in Belgrade,1 then in the Kingdom of Serbia, on 6 June 1896,2 barely six months after its first screening in Paris. 6 He did so following the style of his employers, the Lumière brothers, and first filmed a short newsreel – Workers Leaving a Tobacco Factory.

When, at one point, Pogačić was asked by the heads of Zvezda Film to recommend a young filmmaker to be given a chance to direct, Pogačić answered that there was no one worth recommending. When he told this story to his assistants, including Petrović,146 27 A Portrait of the Artist as a Political Dissident the latter felt personally offended. However, there was someone else at the studio who noticed Petrović’s enthusiasm, and who would later be very important for his career. 147 Vicko Raspor was born in Boka Kotorska on the Adriatic coast in 1918 and spent his youth during the pre-war years in Zagreb.

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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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