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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 movies 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 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 turn into a hallmark of his paintings. even though curiosity in socialist Yugoslavia and its legacy has risen gradually because the Nineties, the background of Yugoslav cinema has been scarcely lined, and this e-book marks a clean contribution to a burgeoning quarter of interest.

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Extra info for A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic

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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.

130 In 1947, when Petrović became a film student, his influences already indicated certain distinctive features of his later, mature work. His love for French poetic realism showed a propensity towards portraying characters and events on the margins of society, or even outside the society, which were often to be the focus of his films. His understanding of film as an independent art form (pre-Antonioni), combined with his passion for Russian classical literature, would all later be very characteristic of his films.

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.

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