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 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 if curiosity in socialist Yugoslavia and its legacy has risen progressively because the Nineties, the background of Yugoslav cinema has been scarcely lined, and this ebook marks a clean contribution to a burgeoning sector 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

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As these French cineastes produced their films two or three years before the Yugoslavs, there is an assumption that the Yugoslav New Wave – as well as the New Waves of other countries – was nothing but an imitation of the French one. 195 Undoubtedly, the French New Wavers released their feature films first, and they certainly produced a significant body of work, but as Yugoslav film historian Ranko Munitić argues, New Wave should not be seen strictly as a French phenomenon that was then replicated elsewhere.

2. 178 He compares this magazine, edited by film director Vladimir Pogačić, to the French Cahiers du Cinéma. During these two years, those who contributed would later become the most important directors of the Yugoslav New Wave, or Black Wave as it was also known from the late 1960s onwards. R. 183 During the 1950s, 31 A Portrait of the Artist as a Political Dissident their articles were very much conceived from a Marxist perspective, but as with Raspor and Petrović, they assumed a role of the left intellectual as a critic and not an appeaser or propagator of party policies.

The seeds of his anti-dogmatism were planted at the end of the war. 1. 2. 3. The Young Filmmaker After the war ended and Aleksandar Petrović’s early political aspirations faded, he went back to school in Belgrade. In 1947, he graduated at the age of 18. 120 Years later, when as an acclaimed filmmaker, he was asked to explain how and why he went to Prague, he could not answer precisely: I was only 18 years old! I wanted to do something to do with films, somehow generally. 123 Petrović was one of many young hopefuls from the new-born socialist states who went to apply, knowing that the recently established industries would have a need for skilled film personnel.

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