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281 pages

English

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In the liberal West as in socialist Yugoslavia, the films of Aleksandar Petrovic dramatize how enforced dogmatism can corrode any political system. A case study of the oft-overlooked Yugoslav director’s colorful and eventful career, A Portrait of the Artist as a Political Dissident explores how Petrovic developed specific political and social themes in his films. A response to the political vagaries of his time, these anti-dogmatic views were later to become a trademark of his work. Although interest in socialist Yugoslavia and its legacy has risen steadily since the 1990s, the history of Yugoslav cinema has been scarcely covered, and this book marks a fresh contribution to a burgeoning area of interest.

Introduction

Chapter 1: Beginnings

Chapter 2: Shoulder to Shoulder

Chapter 3: Art as an Inquiry

Chapter 4: The Artist as a Feather Collector

Chapter 5: The Artist as an Agent Provocateur

Chapter 6: The Artist as Master

Chapter 7: The Artist in Exile

Chapter 8: The Artist, Migrations, and the Last Days

Conclusion

Sujets

Film director

Criticism

Theory

Art

Informations

Publié par	Intellect Books
Date de parution	15 février 2013
Nombre de lectures	0
EAN13	9781783200436
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,2850€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Vlastimir Sudar
Portraits of young Aleksandar Petrović on the front cover by Bogoljub Boba Jovanović, used by kind permission of the artist.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Cover images: Bogoljub Boba Jovanović
Cover designer: Holly Rose
Production manager: Jelena Stanovnik
Copy-editor: Michael Eckhardt
Typesetting: Planman Technologies
ISBN 978-1-84150-545-9
eISBN 978-1-78320-043-6
Printer Bell & Bain, UK
With thanks to

to my mother and father, in memory of a time and place that we have lost…
Table of Contents
Figures
Acknowledgements
Notes on Language
Introduction
Chapter 1: Beginnings
1. 1. The State
1. 1. 1. Early Cinema in Serbia and Yugoslavia
1. 1. 2. Socialist Yugoslavia and the Creation of a National Film Industry
1. 2. The Artist
1. 2. 1. Early Years
1. 2. 2. The Years of War
1. 2. 3. The Young Filmmaker
1. 3. The State and the Artist
1. 3. 1. The Belgrade Circle of Critics
1. 3. 2. The First Love – Communism
1. 3. 3. New Wave
Chapter 2: Shoulder to Shoulder
2. 1. An Invitation from Vicko Raspor
2. 1. 1. Shoulder to Shoulder
2. 1. 2. Flight over the Swamp
2. 2. Raspor and Petrović: Rise and Fall
2. 2. 1. Petar Dobrović
2. 2. 2. The Only Exit
2. 3. Reclaiming the Experience
2. 3. 1. The Roads
2. 3. 2. The War on War
2. 4. First Films, First Problems
2. 4. 1. Two
2. 4. 2. Days – the Premise
2. 4. 3. Days – the Conflict
Chapter 3: Art as an Inquiry
3. 1. Two New Documentaries
3. 1. 1. Exposing the “Invisible”
3. 1. 2. The Record on the “Invisible”
3. 1. 3. The Legacy of Luis Buñuel
3. 1. 4. “The Invisibles” Assembling
3. 2. Three : Things “Invisible” in the War
3. 2. 1. The Atmosphere at Avala Film
3. 2. 2. The War Themes and the Prose of Antonije Isaković
3. 2. 3. Adapting Isaković
3. 2. 4. The Film Three
3. 2. 5. Personal History Against the Official Myth
3. 2. 6. Three – the Reception
Chapter 4: The Artist as a Feather Collector
4. 1. The New Direction
4. 1. 1. Petrović Focuses on the “Invisible”
4. 1. 2. I Even Met Happy Gypsies or The Feather Collectors
4. 2. International Recognition
4. 2. 1. While Travelling with the Gypsies
4. 2. 2. Theorising the Representations of Gypsies
4. 2. 3. The Reception, Success and Side Effects
Chapter 5: The Artist as an Agent Provocateur
5. 1. The Benefits of International Recognition
5. 1. 1. Improvisations and Bertolt Brecht
5. 1. 2. It Rains in My Village, or It Will Be the End of the World Soon
5. 1. 3. Charting the Decline, Anticipating the Downfall
5. 2. Limelight as Light as Feathers
5. 2. 1. The Reception of the Village
5. 2. 2. Black Film
Chapter 6: The Artist as Master
6. 1. Aleksandar Petrović as the Master
6. 1. 1. Petrović and the Whirlpool of the Decentralisation Debate
6. 1. 2. Petrović, Literary Adaptations and his New Film
6. 1. 3. Bulgakov and Petrović on Art under Dogmatic Totalitarianism
6. 1. 4. The Master and Margarita – The Film
6. 1. 5. Petrović’s Margarita and the Master
6. 1. 6. The Reception of the Master
6. 2. The Master and his Student
6. 2. 1. Against the Devil with Plastic Jesus
6. 2. 2. Without Reconciliation
Chapter 7: The Artist in Exile
7. 1. Exile
7. 1. 1. Pornography, or Living as an Artist in the West
7. 1. 2. Petrović and Heinrich Böll
7. 1. 3. Group Portrait with Lady – The Film
7. 1. 4. Petrović’s Portrait of Germany
7. 1. 5. Style and Reception of the Portrait
Chapter 8: The Artist, Migrations, and the Last Days
8. 1. The Return
8. 1. 1. Screenplays and the Theatre
8. 2. Migrations and the Slow Processes of Rehabilitation
8. 2. 1. Petrović and Miloš Crnjanski
8. 2. 2. Rehabilitation without Reconciliation
8. 2. 3. Seobe or Migrations – The Film
8. 2. 4. Petrović’s Migrations
8. 3. The Lessons of Migrations and the Last Days
8. 3. 1. A Few Notes on Petrović’s Adaptations
8. 3. 2. Migrations Thus Far
8. 3. 3. Last Days
Conclusion
Filmography
Bibliography
Index
Figures
Figure 1.1: Aleksandar Petrović’s ID card as a teenage volunteer of a Partisan youth brigade.
Figure 2.1: On the set of Flight over the Swamp : Aleksandar Petrović is first on the right.
Figure 2.2 In front of a large-scale canvas by Sava Šumanović: cameraman Nikola Majdak (left) and Aleksandar Petrović (right).
Figure 2.3: Two : lovers in an empty outdoor cinema.
Figure 2.4: Two : Miha Baloh as Mirko and Beba Lončar as Jovana.
Figure 2.5: Days : Olga Vujadinović as Nina and Ljubiša Samardžić as Dragan.
Figure 2.6: Poster for Days : the lovers at an abandoned airport.
Figure 3.1: Juxtaposing representations in Assemblies : baptising in front of the camera…
Figure 3.2: … and baptising in the fresco.
Figure 3.3: Escaping certain death in Three : Velimir Bata Živojinović as the hunted Partisan Miloš Bojanić.
Figure 3.4: The death race in Three : German soldiers as the hunters…
Figure 3.5: … and the Partisans as the hunted.
Figure 3.6: Facing certain death in Three : Senka Veletanlić-Petrović as the young collaborator.
Figure 4.1: Actress Olivera Vučo, later better known as singer Olivera Katarina, in the role of bar chanteuse Lenče.
Figure 4.2: Bekim Fehmiu as Beli Bora Petrović, a feather merchant.
Figure 4.3: Velimir Bata Živojinović as Bora’s nemesis Mirta, with Gordana Jovanović as his stepdaughter Tisa.
Figure 4.4: I Even Met Happy Gypsies : magical scenes set in the context of social critique.
Figure 5.1: French actress Annie Girardot as the Teacher – the star of It Rains in My Village .
Figure 5.2: One of the Black Wave’s favourite actresses, Eva Ras, improvises her role of a deaf and mute girl, Goca.
Figure 5.3: Ivan Paluch as naïve swineherd, Triša, facing his gruesome death.
Figure 5.4: Mija Aleksić as the devilish Joška: the face of evil lurking in the village.
Figure 5.5: Bleak society: the funeral in a dusty and forgotten village – the set of It Rains in My Village.
Figure 6.1: Italian poster for Il Maestro e Margherita with its international cast: American Mimsy Farmer as Margarita (left), Italian Ugo Tognazzi as the Master (right), and Yugoslav Danilo Bata Stojković (centre) as the venal writer Bobov.
Figure 6.2: The Devil and his acolytes: Alain Cuny as Professor Woland (left), and Velimir Bata Živojinović (middle) and Pavle Vujisić (right) as his assistants.
Figure 6.3: For their recalcitrance, artists get institutionalised: Ugo Tognazzi (left) as the Master.
Figure 6.4: The magic tricks show in The Master and Margarita : Velimir Bata Živojinović as Professor Woland’s assistant (left) and Alain Cuny as Professor Woland (sitting in the back).
Figure 6.5: Pavle Vujisić (left) and Velimir Bata Živojinović as Professor Woland’s assistants.
Figure 6.6: Obscured visions: Mimsy Farmer as Margarita.
Figure 7.1: Group Portrait with Lady : Romy Schneider as Leni Gruyten.
Figure 7.2: Yugoslav actress Milena Dravić as Sister Clementine and French actor Michel Galabru as Walter Pelzer, wartime owner of the florist.
Figure 7.3: At the florist: German actor Rüdiger Vogler as Boldig (left), American Brad Dourif as Boris, and Austrian and French Romy Schneider as Leni.
Figure 7.4: Group Portrait : as the Reich is falling apart, the band plays on.
Figure 7.5: Breakdown under frequent bombardments in close-up: Romy Schneider and Brad Dourif as Leni and Boris.
Figure 8.1: Petrović’s adaptation of Bulgakov’s Heart of a Dog at Belgrade’s theatre Atelje 212.
Figure 8.2: Migrations : Isabelle Huppert as Dafina Isaković.
Figure 8.3: Georgian actor Avtandil Makharadze as the soldier, Major Vuk Isaković.
Figure 8.4: French actor Richard Berry as Vuk’s brother, Arandjel Isaković, the merchant.
Figure 8.5: Serbs at the luxurious reception hosted by the Austrian aristocrats…
Figure 8.6: … and the Serbs facing the horrors of the battlefield.
Figure 8.7: Aleksandar Petrović (left) with one of his favourite actors, Velimir Bata Živojinović, on the set of Group Portrait with Lady .
Figure 9.1: Aleksandar Saša Petrović.
Acknowledgements
The research for this project was initially part of a postgraduate programme leading to a doctoral dissertation, which was completed in the summer of 2007. Subsequently, it took a significant amount of time to expand this work in order to turn it into a book. Throughout this period, I have been able to rely on the consistent support and unfaltering understanding of my mother and father. Without their selfless, tireless and constant assistance, I would not have been able to finish this work and my gratitude goes to them first.
I also owe much gratitude to the late Branislava Branka Petrović, who has made numerous valuable documents and photographs available for my research. Her kindness, fairness and immense commitment to her late husband’s work will never be forgotten, and I hope that they will also continue to live on in this work now in front of you.
As this book is based on my doctoral dissertation of the same title, which ended up being the first doctorate in the then newly formed Department of Film Studies at the oldest Scottish university – St Andrews – my thanks go to Dina Iordanova for forming this department. I would also like to thank Dina for initiating the Balkan Film Project and winning the AHRC grant to finance it. The current work, in this form, was only possible thanks to the AHRC’s assistance, to whom I am also grateful. I also owe much to a number of academics, pa