Download e-book for kindle: A Portrait of the Artist as a Political Dissident: The Life by Vlastimir Sudar

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 procedure. A case examine 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 issues in his movies. A reaction to the political vagaries of his time, those anti-dogmatic perspectives have been later to turn into an indicator of his paintings. even if curiosity in socialist Yugoslavia and its legacy has risen progressively because the Nineteen Nineties, the historical past of Yugoslav cinema has been scarcely lined, and this e-book marks a clean contribution to a burgeoning zone of interest.

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

Example text

When Pogačić started filming his next feature project, The Last Day (Poslednji dan, 1951), both Petrović as an assistant director and Nikola Majdak as a camera assistant were on the production team. The reason for Zvezda Film being unable to achieve its high production target was very simple: the lack of money. This financial deficit did not affect only the film industry, for after Tito severed relations with Stalin and the rest of the socialist world in 1948, Yugoslavia found itself on the brink of economic collapse.

They seduced many local entrepreneurs and young adventurers into starting their own film businesses, hence the development of this new industry unfolded with steady progression in a “romantic” spirit of modernism. 10 Before this, all the cinemas had been only travelling attractions whether from foreign or local individuals or their companies. 13 A Portrait of the Artist as a Political Dissident Botorić’s interest in production would grow and was particularly inspired after he had seen the French film The Assassination of the Duke of Guise (L’Assassinat du Duc de Guise, 1908) directed by Charles Le Bargy and André Calmette.

The unit numbered around 400 people who were then all executed in groups of five within a couple of hours. As some of the Chetniks attempted to run away, Petrović’s 16-year-old comrade hit one of them with the handle of his unlocked rifle and, in this tragically bizarre accident, shot himself in the stomach. Petrović rushed to take his wounded friend to hospital, but the boy died before they arrived. 115 Petrović wrote about those days with mixed feelings. 116 This unforgiving stance, which Petrović describes, had accumulated so much by 1945 that it made the anti-fascist block merciless towards its enemy, almost as merciless as the enemy initially was.

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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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