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BL
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| Record Number
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647438
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| Doc. No
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dltt
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| Main Entry
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Sudar, Vlastimir,1974-
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| Title & Author
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A portrait of the artist as a political dissident : : the life and work of Aleksandar Petrović /\ Vlastimir Sudar
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| Page. NO
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xvi, 366 pages :: illustrated (chiefly black and white photographs) ;; 24 cm
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| ISBN
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9781841505459
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: 1841505455
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| Bibliographies/Indexes
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Includes bibliographical references (pages [341]-355) and index
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| Contents
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Cover; Half Title; Title; Copyright; Dedication; 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
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2. 1. 1. Shoulder to Shoulder2. 1. 2. Flight over the Swamp; 2. 2. Raspor and Petrovic:́ Rise and Fall; 2. 2. 1. Petar Dobrovic;́ 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 Bunũel; 3. 1. 4. "The Invisibles" Assembling; 3. 2. Three: Things "Invisible" in the War
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3. 2. 1. The Atmosphere at Avala Film3. 2. 2. The War Themes and the Prose of Antonije Isakovic;́ 3. 2. 3. Adapting Isakovic;́ 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. Petrovic ́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
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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 Petrovic ás the Master; 6. 1. 1. Petrovic ánd the Whirlpool of the Decentralisation Debate; 6. 1. 2. Petrovic,́ Literary Adaptations and his New Film
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6. 1. 3. Bulgakov and Petrovic ón Art under Dogmatic Totalitarianism6. 1. 4. The Master and Margarita -- The Film; 6. 1. 5. Petrovic'ś 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. Petrovic ánd Heinrich Bol̈l; 7. 1. 3. Group Portrait with Lady -- The Film; 7. 1. 4. Petrovic'ś Portrait of Germany; 7. 1. 5. Style and Reception of the Portrait
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Chapter 8: The Artist, Migrations, and the Last Days
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| Abstract
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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
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Aleksandar Sasǎ Petrovic (1929-1994) was one of the most significant filmmakers to come out of Socialist Yugoslavia. He was by far the most awarded director on a national level, winning three Golden Arenas at the Yugoslav Film Festival in Pula, as well as receiving all the highest state awards. He was also acclaimed internationally, and the first Yugoslav director to win prizes at the Cannes Film Festival, in 1967, as well as Oscar nominations in 1967 and 1968. His film, I Even Met Happy Gypsies (1967), was seen by 200,000 people in Paris alone, and was extensively distributed worldwide
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| Subject
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Petrović, Aleksandar,1929-1994-- Criticism and interpretation
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| Subject
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Motion picture producers and directors-- Yugoslavia, Biography
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