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 process. A case examine 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 motion pictures. 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 gradually because the Nineteen Nineties, the historical past of Yugoslav cinema has been scarcely lined, and this ebook marks a clean contribution to a burgeoning sector of interest.

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28 Mira and Antonín Liehm were actually born in Czechoslovakia, although it was only after they moved to the United States that they published their work on the history of East European cinema. I thus consider their perspective to be American, as this was where their work was published. 29 Mira and Antonín Liehm, The Most Important Art, p. 19. 30 Daniel J. Goulding, Liberated Cinema: The Yugoslav Experience (Bloomington: Indiana University Press, 1985), p. 1; see this quote also in Mira and Antonín Liehm, The Most Important Art, p.

99 Hitler was infuriated by these developments and he postponed his attack on the Soviet Union in order to deal with Yugoslavia and Greece first. 102 Hitler in return allowed them to form an independent state loyal to the Axis powers. 103 Bosnia was annexed to the new Croat state; Montenegro was occupied by Italy as was part of Slovenia, whereas the rest of Slovenia was taken by Germany; Macedonia was carved up between Albania and Bulgaria, both of which were led by pro-fascist regimes. 105 The German occupying forces were severely brutal in their efforts to curb the dissent.

112 Petrović clearly felt vindicated by the arrival of the triumphant Red Army and justifi ed in his decision to join the Yugoslav Partisans and contribute to the defeat of fascism. His idea of war would soon change, however, and his original romantic fervour would evaporate, as the teenager was about to witness several senseless and traumatic brutalities, this time committed by the “good guys”. As at that point the war was coming to an end, Aleksandar did not get the chance to participate in any “glorious battles”, as they had all already been fought.

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