A Portrait of the Artist as a Political Dissident : the Life and Work of Aleksandar Petrovic.

Aleksandar Saša 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...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Sudar, Vlastimir, 1974-
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Bristol : Intellect, 2013.
Temas:
Petrović, Aleksandar, > 1929-1994 > Criticism and interpretation.
Petrović, Aleksandar, > 1929-1994
Motion picture producers and directors > Yugoslavia.
Producteurs et réalisateurs de cinéma > Yougoslavie.
PERFORMING ARTS > Film & Video > Direction & Production.
Motion picture producers and directors
Yugoslavia
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • 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.
  • 2. 1. 1. Shoulder to Shoulder2. 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 Film3. 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 Provocateur5. 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 Totalitarianism6. 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.

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