By Vlastimir Sudar

ISBN-10: 1841505455

ISBN-13: 9781841505459

In the liberal West as in socialist Yugoslavia, the flicks of Aleksandar Petrovic dramatize how enforced dogmatism can corrode any political procedure. 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 topics 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 gradually because the Nineteen Nineties, the historical past of Yugoslav cinema has been scarcely lined, and this publication marks a clean contribution to a burgeoning zone 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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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. Belgrade and Serbia were littered with corpses of resistance members and patriots. Aleksandar Petrović remembered the Gestapo bus driving around Belgrade, arresting on the spot suspected patriots, communists, Jews, Gypsies and anyone else who might allegedly be dangerous to the system.

117 Once back from the frontline, and after some time in Belgrade, he was supposed to move to another branch of the party where he was to hand in his letter of recommendation. Databases not being so perfect in those days, Petrović was able to change his mind and throw the letter away; he never rejoined the party. 119 Considering Petrović’s experience on the frontline, and the fact that he had witnessed other unjustifiable brutalities committed in the name of communism, it could be concluded that his hesitance was not to do with communist ideas, but with their implementation.

All of these features appeared present before his studies commenced. ”132 In Prague just after World War II, FAMU was a school based on the socialist doctrines. 134 The ideological framework in which Petrović studied was thus clearly a communist one. 135 26 Beginnings In the summer of 1948 after completing his first year of study at FAMU, Petrović had to return to Belgrade. 136 This brought the two countries, or rather one country and one bloc, to the brink of war. All Yugoslav citizens residing, working or studying in the other socialist countries were ordered to return to Yugoslavia, which included students such as Petrović.

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A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic by Vlastimir Sudar

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