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

By Vlastimir Sudar

ISBN-10: 1841505455

ISBN-13: 9781841505459

In the liberal West as in socialist Yugoslavia, the movies of Aleksandar Petrovic dramatize how enforced dogmatism can corrode any political process. 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 subject matters 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 supposing 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 quarter of interest.

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

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175 Clearly, in these paragraphs printed in 1953, Petrović was asking for contemporary life to be critically scrutinised as opposed to representing the past in the style of “banal nationalism”. Another important trait of his comments is also a commitment to the author’s film, if not yet the auteur theory. There is no doubt that film directors, those who have the intention of creating serious artworks, need to find their own themes, if not to write their own scripts. Ultimately, they have to be passionate about their themes; these themes have to be part of them, a part of their world that they want to express with film.

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. 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.

190 Together, they produced a considerable number of short films shown at various amateur festivals and events. One of these events was critically reproached by Otto Deneš, a Slovenian film director and committed party member. Deneš attacked the young amateurs for portraying Yugoslav contemporary socialist reality as dark and pessimistic, which he believed was inaccurate. He pleaded with the filmmakers to show what he thought was “the real picture” of society. 191 Pavlović’s argument was based on the idea that “the spirit of amateurism is the spirit of art”192 and that amateurs shall not make “banal propaganda”,193 and thus he disclosed a discrepancy in the understandings of Marxism within one party.

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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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