7Bb20dbcc58443e0a100600d71

Total Page:16

File Type:pdf, Size:1020Kb

7Bb20dbcc58443e0a100600d71 Tsane lives with his grandfather and their cow, Cvetka, on a remote hilltop. Except for their neighbor, the teacher, they are the village’s only inhabitants. One day, Tsane’s grandfather tells the young man that he is dying. He makes Tsane promise to go over the three hills into the nearest town and sell Cvetka at the market there. With the money, he must buy a religious icon, then anything he really wants, and finally he must find a wife to bring home. In town, Tsane easily fulfills the first parts of his promise but how is he going to get home with a wife before his granddad dies? That’s when he meets Jasna, who’s late for school as usual... Au sommet d’une colline isolée au fond de la campagne serbe vivent Tsane, son grand-père et leur vache Cvetka. Avec leur voisine l’institutrice, ce sont les seuls habitants du village. Un jour, le grand-père de Tsane lui annonce qu’il va bientôt mourir et lui fait promettre qu’il franchira les trois collines pour rejoindre la ville la plus proche et vendre Cvetka au marché. Avec l’argent récolté, il devra acheter une icône et un souvenir. Enfin, il lui faudra trouver une épouse. Arrivé en ville, Tsane n’a aucune difficulté à exaucer les premiers vœux de son grand-père. Mais comment faire pour trouver une fiancée et la convaincre de le suivre au village avant que son grand-père ne disparaisse ? STUDIOCANAL FRENCH PRESS IN CANNES / INTERNATIONAL PRESS IN CANNES / MARKETING INTERNATIONAL PRESSE FRANÇAISE À CANNES PRESSE INTERNATIONALE À CANNES Frédérick Gautier Jérôme Jouneaux, Isabelle Duvoisin Charles McDonald Tel :+33 6 10 13 81 71 & Matthieu Rey [email protected] [email protected] Pavillon Riviera Sue Watkins 6, avenue Branly 06400 Cannes [email protected] Premier PR PRESS COORDINATOR Tel :+33 4 92 18 81 69 Villa Ste Hélène - 45, Bd d’Alsace - 06400 Cannes Stéphanie Bro Tel :+33 4 93 99 03 02 - Fax :+33 4 93 99 05 51 Tel :+33 6.12.68.59.54 [email protected] FILMOGRAPHY 2004 Life Is A Miracle 1998 Black Cat, White Cat Silver Lion at Venice 1995 Underground Golden Palm at Cannes 1993 Arizona Dream Silver Bear at Berlin 1988 The Time of the Gypsies Best Director Award at Cannes IL TIENT TOUTES SES PROMESSES 1985 When Father Was Away On Business Golden Palm at Cannes 1981 Do You Remember Dolly Bell ? Golden Lion for Best First Film at Venice Emir Kusturica is a member of an exclusive group of filmmakers who have won two Golden Palm awards at the Cannes film festival, for Underground (1995) and When Father Was Away On Business (1985). But he’s not an exclusive FILMOGRAPHIE filmmaker. He has won awards at every major festival. His offbeat tales of the trials and tribulations of life in the Balkans don’t just 2004 La vie est un miracle charm critics and juries, they please audiences all around the world. The Time 1998 Chat noir, chat blanc of the Gypsies, Arizona Dream, Black Cat White Cat, Kusturica’s movies are Lion d’argent à la Mostra de Venise visually stunning, cinematically daring, musically innovative and always very, 1995 Underground very memorable. Palme d’Or au Festival de Cannes Promise Me This - the beautiful story of Tsane, a boy who promises his grand 1993 Arizona Dream -father that he will return to his village a man - is in the finest tradition Ours d’argent au Festival de Berlin of the director’s work. Funny, moving, romantic, colorful and poetic, the film offers 1988 Le Temps des gitans a glimpse of another world while touching on universal values and issues. Prix de la mise en scène au Festival de Cannes 1985 Papa est en voyage d’affaires Palme d’Or au Festival de Cannes Emir Kusturica fait partie du cercle fermé des réalisateurs qui ont remporté 1981 Te souviens-tu de Dolly Bell ? deux Palmes d’Or au festival de Cannes ; ce sont Underground (1995) et Papa Lion d’or de la première oeuvreà la Mostra de Venise est en voyage d’affaires (1985) qui lui ont valu cet honneur. Les autres grands festivals de cinéma ont eux aussi reconnu son talent en lui décernant plusieurs récompenses. Ses contes excentriques sur les tribulations de la vie dans les Balkans ravissent non seulement les critiques et les jurys de festivals mais aussi les spectateurs du monde entier. Le Temps des gitans, Arizona Dream, Chat noir, chat blanc… Quiconque a vu un des films de Kusturica en garde un souvenir impérissable : chacune de ses œuvres est portée par une photographie remarquable, une mise en scène audacieuse et une bande originale novatrice. Promets-moi, c’est l’histoire de Tsane , un jeune homme qui promet à son grand- père que, lorsqu’il reviendra au village, il sera devenu un homme. Ce film vient enrichir l’œuvre magistrale de Kusturica. Drôle, émouvant, romantique, bigarré et poétique, Promets-moi invite le spectateur à découvrir un monde différent tout en abordant des thèmes universels. PREMIÈRE PROMESSE... LA VACHE The town is a two - days walk away, over three hills. You know you’ve reached it when you see the lights from the final hill. They make the night sky glow and keep Tsane from sleeping. But it’s worth the trip. Cvetka is a beautiful cow and Tsane will get a good price for her. The trouble is, he’s never seen money before and can’t count higher than 10 ! Pour se rendre en ville, il faut marcher pendant deux jours et franchir trois collines. Les lumières de la cité, visibles du sommet de la troisième colline, annoncent que l’ arrivée est proche. Elles illuminent la nuit et empêchent Tsane de dormir. Cependant, le jeu en vaut la chandelle : Cvetka est une belle bête, Tsane peut en obtenir un bon prix. Pourtant, il y a un hic : il n’a jamais manipulé d’argent de sa vie et ne sait compter que jusqu’à dix ! “Va en ville avec Cvetka et vends-la au marché” DEUXIÈME PROMESSE... UNE ICÔNE This one’s easy. Except that Tsane nearly sells the cow for peanuts to two farmers who are delighted to exploit his ignorance. Luckily, Milun steps in. He was a friend of Tsane ’s father. The boy looks just like him. Tsane wouldn’t know. His parents died when he was very young. Thanks to Milun, Tsane has a bundle of cash in his pocket. Now he’ll never be lonely. He has an icon he can talk to just like his Granddad. Cette promesse devrait être facile à honorer. Pourtant, Tsane manque de vendre la vache pour un prix dérisoire à deux fermiers ravis de profiter de sa naïveté. Heureu- sement, Milun intervient. C’était un ami du père de Tsane . Il dit au jeune homme qu’il ressemble comme deux gouttes d’eau à son père. Tsane l’ignorait : ses parents “Buy an icon at the church” sont morts alors qu’il était encore très jeune. Grâce à Milun, Tsane réussit à empocher une coquette somme d’argent. À présent, “Va à l’église et achète une icône” il ne sera plus jamais seul : comme son grand-père, il a une icône religieuse à qui parler. TROISIÈME PROMESSE... UNE ÉPOUSE Tsane protests that he’s too young for a wife. But a promise is a promise, so he starts to look for one in town. And looks and looks. He doesn’t know that staring at pretty young women can get you into trouble. Then, Tsane meets Jasna. He plays his pipe for her and tells her the good news. They’re going to be married. For some reason, she says no. His Granddad warned him. Women are strange creatures! Tsane proteste, il est trop jeune pour se marier ! Malgré tout, une promesse est une promesse et il finit par se mettre en quête d’une épouse. Il observe, il scrute... Le jeune “Find a good and pretty wife” homme ignore qu’en regardant avec insistance les jeunes et jolies femmes, il peut s’attirer des ennuis. Puis, il fait la connaissance de Jasna. Il joue du pipeau pour elle et lui annonce la “Trouve une épouse qui soit gentille et belle” bonne nouvelle : ils vont se marier. Bizarrement, elle refuse. Son grand-père l’avait pourtant prévenu : les femmes sont des créatures bien étranges ! “Buy anything you really, really want” “Achète tout ce qui te fait envie” QUATRIÈME PROMESSE... UN SOUVENIR What could Tsane want that he doesn’t have back in his village ? He tries to buy Jasna. After all, her mother is happy to sell her. She’s sold everything else in the house of any value. Even if it’s only sentimental value. But Jasna makes her mother give the money back. She refuses to be sold to Tsane. That gives him an idea. Maybe he could buy something that Jasna really, really wants... Que Tsane pourrait-il vouloir qu’il n’ait pas déjà dans son village ? Il décide finalement d’acheter Jasna. Sa mère accepte avec plaisir de la lui vendre ; d’ailleurs, elle a vendu tous les objets de valeur qu’elle possédait, même ceux qui n’avaient qu’une valeur sentimentale. Jasna pousse sa mère à rendre l’argent à Tsane , elle refuse qu’on la vende au jeune homme. Soudain, Tsane a une idée : et s’il achetait quelque chose que Jasna tient vraiment à avoir ? GRANDDAD I wish you luck, Tsane.
Recommended publications
  • Emir Kusturica and the No Smoking Orchestra
    07-14 Kusturica:Gp 3.qxt 6/30/10 10:50 AM Page 1 Sponsor Welcome to Lincoln Center Festival 2010. We have searched the world to bring you some of the best the performing arts have to offer. Over the 18 days of this month’s Festival, we present 45 performances by artists and ensembles from 12 countries, and expand our venues to include a new site on Governors Island. The Lincoln Center Festival opened with the wel come back the Bill T. Jones/Arnie Zane North American premiere of Musashi , a lavish Dance Company. Bill has never been one to shy Noh-inspired drama. Yukio Ninagawa directed away from difficult subjects, and his Fondly Do the late Hisashi Inoue’s reworking and revital - We Hope… Fervently Do We Pray is an inspiring ization of a traditional Japanese tale based on and emotionally wrenching work. Dancer and the life of a real samurai warrior. choreographer Saburo Teshigawara, who made his Lincoln Center Festival debut in 2006, brings If we had a musical survivors series, it would back his laser-like focus for the compelling one- undoubtedly include three groups making man tour-de-force Miroku , and Pichet Klunchun Festival debuts this month: The Blind Boys of brings his brilliant company from Bangkok for Alabama, Orchestre Poly-Rythmo de Cotonou, Chui Chai . The title, meaning “transformation,” and Emir Kusturica and The No Smoking is as much a metaphor for Pichet’s own mod - Orchestra. The Blind Boys have inspired musi - ernization of Thai classical dance as it is a cians and music lovers of all tastes for decades, description of the Ramayana, an Indian epic on and over three nights we’ll celebrate their con - which it is based.
    [Show full text]
  • Yugoslav Cinema
    Egemia, 2018; 3: 31-49 31 TRANSFORMATION OF TRAUMATIC CHARACTERS IN POST- YUGOSLAV CINEMA Ahmet Ender UYSAL* ABSTRACT This study examines the changes Yugoslav cinema realized from the 1980s to the 2000s, and seeks to see the contributions of three important post-Yugoslav directors to the transformation of the cinema characters. The post-Yugoslav states emerged after the disintegration of Yugoslavia, and they underwent political and cultural changes as a result of the collapse of the former Yugoslav socialism and the post-civil war. Post- Yugoslav cinema, which took its share from these changes, experienced crises of national identity and modernization. Examining these changes in cinema with cinematic characters is also very important in terms of visualizing cultural and economic changes in a cinematic sense. The real problem here is where the boundary of this change will be drawn. This is because, although the characters in post-Yugoslavian cinema have been transformed, there is still some cinematic tradition that continues today. Post-Yugoslav cinema will therefore be considered within the period of 1980s. Keywords: Post-Yugoslav cinema, trauma, cinematic characters * Arş. Gör., Yüzüncü Yıl Üniversitesi Güzel Sanatlar Fakültesi, Sinema-Televizyon Bölümü / VAN E-posta: [email protected] Makale Gönderim Tarihi: 14.06.2018 – Makale Kabul Tarihi: 16.10.2018 32 Egemia, 2018; 3: 31-49 INTRODUCTION Often, the concept of post-Yugoslavian cinema offers curative effects on rejection of failure and the search for hope, and becomes a common stake of new countries emerging after the dissolution of the former Yugoslavia, which is increasingly adopted in the field of film studies (Šprah, 2015: 184).
    [Show full text]
  • Yugoslavya'nin Dağilmasi Sonrasi Sirp Ulusal Kimliğinin Inşasinda Sinema
    T.C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ RADYO TELEVİZYON SİNEMA ANABİLİM DALI YÜKSEK LİSANS TEZİ YUGOSLAVYA’NIN DAĞILMASI SONRASI SIRP ULUSAL KİMLİĞİNİN İNŞASINDA SİNEMA SERCAN KULE 2501151475 TEZ DANIŞMANI PROF. DR. MURAT İRİ İSTANBUL, 2019 ÖZ YUGOSLAVYAININ DAĞILMASI SONRASI SIRP ULUSAL KİMLİĞİNİN İNŞAASINDA SİNEMA SERCAN KULE Bu çalışmada, Yugoslavya’nın dağılması sonrası Sırp Sineması’nda ulusal kimliğinin inşası incelenmektedir. İlk bölümde Sırp ulusal kimliğinin tarih boyunca gelişimi ele alınıp, ulusçuluğu etkileyen tarihsel süreçleri ve kültürleri ile birlikte ulusçuluk kavramı irdelenmektedir. İkinci bölümde ise, Yugoslav ve Sırp Sineması’nın gelişimi incelenip, ulusal göstergeler bağlamında örneklem filmler göstergebilim kullanılarak çözümlenmektedir. Çalışmanın sonuç bölümünde filmlerin çözümlenmesiyle edinilen bilgilerin, Yugoslavya’nın dağılması sonrası Sırp Sineması’nda ulusal kimliğin inşasının ne durumda olduğu tartışılmaktadır. Anahtar Sözcükler: ‘’Sırp Sineması’’, ‘’Yugoslav Sineması’’, ‘’Ulusçuluk’’, ‘’Göstergebilim’’ iii ABSTRACT BUILDING NATIONAL IDENTITY IN SERBIAN CINEMA AFTER THE BREAKUP OF YUGOSLAVIA SERCAN KULE This work is a study discussing about building national identity in Serbian cinema after the Breakup of Yugoslavia. The first chapter reviews progress of Serbian national identity throughout history, examines nationalism which affected historical process and nationalism concept with cultures. Furthermore the second chapter investigates evolution of Yugoslav and Serbian cinema and solves sample
    [Show full text]
  • SOME METHODOLOGICAL CONCERNS REGARDING the STUDY of BALKANISM in CINEMA Mario Slugan University of Chicago 1
    SOME METHODOLOGICAL CONCERNS REGARDING THE STUDY OF BALKANISM IN CINEMA Mario Slugan University of Chicago 1 It was in the early 1990s that Balkanism came to the attention of Slavic studies. As early as 1990, Milica Bakid-Hayden drew on Edward Said’s Orientalism to describe the rhetoric employed by many a Slovenian and Croatian politician and writer to discuss the Yugoslav crisis of the 1980s. Regardless of whether Balkanism was treated as a variation of Orientalism (Bakid-Hayden and Hayden 1992, Bakid-Hayden 1995) or as a rhetorical paradigm specific to the Balkans (Todorova 1994), Orientalism has remained the conceptual paradigm behind Balkanism well after the most detailed analysis of the phenomenon has been written (Todorova 1997). According to Todorova, Balkanism dominated western perceptions of the region from the early twentieth century until the beginning of World War II and then again from the demise of the Soviet Union onward. During the communist era, the Balkans had been an indistinguishable part of the monolith of Eastern Europe. After 1989, the Balkans reappeared as the ‘Other’ of the newly forming Central Europe. It was often connected with the notion of Balkanization, denoting the fragmentation of viable larger political entities as well as the return to the primitive, backward and tribal. While Todorova is careful not to identify Balkanism as a mere variation of Orientalism, both discourses serve to reinforce a western style of domination through description, learning and authorization of viewpoints. Todorova lists a number of features that distinguish the Balkans from the Orient: central among them, the manner in which the construction of Balkan identities takes place.
    [Show full text]
  • Grbavica Press English.Pdf
    GRBAVICA is a story about contemporary Sarajevo… Single mother Esma wants to grant her twelve-year-old daughter Sara's wish to participate in a school trip. A certificate proving her father is a war martyr would allow her a dis- count. But Esma continues to avoid Sara's requests for the certificate. She would rather find a way to pay full price for the trip. She believes not telling the truth about Sara's father is a way to protect both her and her daughter. DIRECTOR'S STATEMENT I am fascinated by everyday life, but compared to war, it can seem ordinary, non-dramatic, even banal. Yet when the surface of this everyday life is scratched, the whole power of human emotions - - past, present and future -- starts to leak out. GRBAVICA is first of all a story about LOVE. About love that is not pure, because it has been mixed with hate, disgust, trauma, despair. It's also about VICTIMS who, though they did not com- mit any crime, they are still not entirely innocent in relation to future generations. GRBAVICA is also about TRUTH, a cosmic power necessary to progress, and very much needed by society in Bosnia and Herzegovina who must strive to reach maturity. INTERVIEW Grbavica is a word which foreigners will probably nounce - I thought that these unattractive letters give a very break their tongues on. What is Grbavica? good sound picture of Esma's world. Grbavica is a neighborhood just across from the building where I live. During the war this area was held under siege by What is the origin of the story? the Serbo-Montenegrin Army, and transformed into a special When the war started, I was happy because my maths test war camp where the population was tortured.
    [Show full text]
  • Grbavica-Pressbook.Pdf (1.6 Mib)
    press_english_korr.qxd 24.10.2006 15:45 Uhr Seite 1 press_english_korr.qxd 24.10.2006 15:45 Uhr Seite 2 GRBAVICA is a story about contemporary Sarajevo.. Single mother Esma wants to grant her twelve-year-old daughter Sara's wish to participate in a school trip. A certificate proving her father is a war martyr would allow her a dis- count. But Esma continues to avoid Sara's requests for the certificate. She would rather find a way to pay full price for the trip. She believes not telling the truth about Sara's father is a way to protect both her and her daughter. press_english_korr.qxd 24.10.2006 15:45 Uhr Seite 3 DIRECTOR'S STATEMENT I am fascinated by everyday life, but compared to war, it can seem ordinary, non-dramatic, even banal. Yet when the surface of this everyday life is scratched, the whole power of human emotions - - past, present and future -- starts to leak out. GRBAVICA is first of all a story about LOVE. About love that is not pure, because it has been mixed with hate, disgust, trauma, despair. It's also about VICTIMS who, though they did not com- mit any crime, they are still not entirely innocent in relation to future generations. GRBAVICA is also about TRUTH, a cosmic power necessary to progress, and very much needed by society in Bosnia and Herzegovina who must strive to reach maturity. press_english_korr.qxd 24.10.2006 15:45 Uhr Seite 4 INTERVIEW Grbavica is a word which foreigners will probably nounce - I thought that these unattractive letters give a very break their tongues on.
    [Show full text]
  • Diplomarbeit
    DIPLOMARBEIT Titel der Diplomarbeit „Die Verarbeitung der Jugoslawien-Kriege im serbischen Film. - Unter besonderer Berücksichtigung der Filme Underground von Emir Kusturica und Pretty Village, Pretty Flame von Srdjan Dragojevic“ Irina-Karina Ivanovic angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft UniStG Betreuerin / Betreuer: Univ.-Prof. Dr. Christian Schulte 2 3 1. INHALTSVERZEICHNIS 1. INHALTSVERZEICHNIS S. 3 2. VORWORT S. 6 3. EINLEITUNG S. 8 4. EINFÜHRUNG IN DIE GESCHICHTE DER BALKANHALBINSEL S. 9 4.1. ANSIEDLUNG DER SLAWEN AUF DER BALKANHALBINSEL IM 2. JAHRTAUSEND V.CHR . S. 9 4.2. DAS WIRKEN DER SLAWENAPOSTEL KYRILL UND METHOD S. 10 4.3. REGNUM DALMATIAE ET CHROATIAE: FÜRST TOMISLAV S. 11 4.4. UMWÄLZUNGEN DER MACHTVERHÄLTNISSE, DURCH DEN LANGSAMEN ZERFALL DES BYZANTINISCHEN REICHES S. 13 4.5. SERBIENS ERLANGUNG EINES EIGENSTÄNDIGEN KÖNIGREICHES UNTER DER HERRSCHAFT DER NEMANJIDEN S. 13 4.6. EINZUG DER OSMANEN AUF DEM BALKAN S. 16 4.7. SÜDOSTEUROPA UNTER DEN OSMANEN S. 17 4.8. DIE BEFREIUNG VON DER OSMANISCHEN HERRSCHAFT S. 20 4.9. DER ERSTE WELTKRIEG UND DIE GRÜNDUNG DES „1. JUGOSLAWIENS“ – KÖNIGREICH DER SERBEN, KROATEN UND SLOWENEN S. 22 4.10. DER ZWEITE WELTKRIEG – DER PARTISANENKAMPF UND 4 DIE GRÜNDUNG DER KOMMUNISTISCHEN-FÖDERATIVEN REPUBLIK JUGOSLAWIENS S. 24 4.11. DIE ANFÄNGE DES JUGOSLAWIEN KRIEGES S. 26 5. FILMGESCHICHTLICHER ABRISS DES DAMALIGEN JUGOSLAWIENS UND DES HEUTIGEN SERBIENS – INHALT UND KURZINTERPRETATION DER AUSGEWÄHLTEN FILME S. 29 5.1. AUSWAHL JUGOSLAWISCHER FILMPRODUKTIONEN ZW. 1965 BIS 1981 S. 31 5.2. AUSWAHL SERBISCHER FILMPRODUKTIONEN ZW.
    [Show full text]
  • Download Itinerary
    13d10n13d10n TreasuresTreasures ofof Bosnia,Bosnia, SerbiaSerbia && RomaniaRomania (ESJJS) 30 PLANNED MEALS SARAJEVO / BELGRADE / TIMISOARA 10 BREAKFASTS / SIBIU / SIGHISOARA / PIATRA NEAMT 10 LUNCHES / BRASOV / SINAIA / BUCHAREST MEAL PLAN 10 DINNERS 2 PIATRA NEAMT ROMANIA 1 SIGHISOARA 1 TIMISOARA THE BALKANS 1 SIBIU BRASOV 1 Bran BOSNIA AND DAY 1 wooden fountain, Sebilj. Walk through the old bazaar to the HERZEGOVINA BELGRADE 2 1 BUCHAREST SINGAPORE SARAJEVO (BOSNIA) Latin bridge where the assassination of Franz Ferdinand Welcome to a unique experience! sparked World War 1. 1 SARAJEVO SERBIA Lunch / Dinner • Assemble at Changi Airport for our flight toSarajevo , the capital of Bosnia. DAY 3 DAY 2 SARAJEVO MOKRA GORA BELGRADE SARAJEVO (SERBIA) • Drive towards the small eastern Bosnian town, Visegrad. Make • Depart the airport to the Tunnel of Hope and Museum, an a photo stop at the famous Mehmed Pasa Sokolovic Bridge N underground tunnel constructed under a local house during START/END spanning 180 metres over the River Drina. the Siege of Sarajevo in the midst of the Bosnian War. • Cross the border into Serbia and the village of Mokra Gora NIGHT STAY • Drive to the old town after the visit. which became popular after a reconstruction of a narrow gauge by Dynasty Travel BY FLIGHT • Sarajevo walking tour: Start from Coopersmith’s Street railway called Sargan Eight as its route viewed from the sky into the old town to see the famous pseudo-Ottoman style looks like the number 8. BY COACH EUROPE 116 117 www.dynastytravel.com.sg | Book Online. Anytime, Anywhere! DAY 8 • Travel to Sinaia, a little town which has always been linked to the SIGHISOARA PIATRA NEAMT Romanian royal family.
    [Show full text]
  • Tragedy and Farce in Dušan Kovačević's Post-Yugoslav
    The Journal of Kitsch, Camp and Mas Culture The Journal of Kitsch, Camp and Mass Culture Volume 1 / 2020 TRAGEDY AND FARCE IN DUŠAN KOVAČEVIĆ’S POST-YUGOSLAV SCREENPLAYS Aleš Čakalić Doctoral Candidate at AMEU – ISH, Ljubljana, Slovenia, [email protected] Aleš Čakalić TRAGEDY AND FARCE IN DUŠAN KOVAČEVIĆ’S POST-YUGOSLAV SCREENPLAYS Aleš Čakalić Abstract Commenting on Hegel’s remark that all great world-historic facts and personages appear twice, Marx famously appended that they do so the first time as tragedy, and the second time as farce. This paper intends to show how the film scripts by popular Serbian playwright Dušan Kovačević (b. 1948) can be read as a specific post-Yugoslav and post-communist artistic commentary on Marx’s claim. Kovačević’s scripts for three well-known post-Yugoslav films are discussed: Emir Kusturica’s controversial Underground (1995), Goran Marković’s The Tragic Burlesque (1995), and Kovačević’s own The Professional (2003). Within the larger frame of post-Yugoslav cinema, these three films constitute an important segment of the ideological current of self-Balkanization, which seemed to be all over the place especially in the Serbian cinema of the 1990s. What these self-Balkanizing films have in common, according to Pavičić, is a perception of the Balkans as a zone of permanent and inveterate chaos, a zone to which occasional wars are actually rather endemic. The three Kovačević’s scripts in question are very much in the same vein, yet they are substantially more farcical in nature when compared to self- Balkanizing films that were not written by Kovačević.
    [Show full text]
  • Roma on the Screen the Roma on Europe’S Cinema Screens - Images of Freedom
    ROMA ON THE SCREEN THE ROMA ON EUROPE’S CINEMA SCREENS - IMAGES OF FREEDOM DOMINIQUE CHANSEL 2 CONTENTS Page Introduction 5 1. Big-screen portrayals - from the Romanesque to the fantastic. A general study on a small number of themes 9 1.1. The beautiful rebels of French historical films 10 1.1.1. “The Hunchback of Notre Dame” by J. Delannoy (France / Italy, 1956) 10 1.1.2. “Cartouche” by Ph. de Broca (France / Italy, 1962) 13 1.2. Tales of love and death. From Russia to Spain 16 1.2.1. “Queen of the Gypsies” by E. Loteanu (USSR, 1976) 16 1.2.2. “Carmen” by F. Rosi (France / Italy, 1984) 20 2. Preoccupation with the sordid aspects of Roma life or real empathy? The uncertain paths of recognition 27 2.1. Between grandeur and destitution 27 2.1.1. “Kriss romani” by J. Schmidt (France, 1962) 27 2.1.2. “I Even Met Happy Gypsies” by A. Petrovi (Yugoslavia, 1967) 31 2.2. A lesson in freedom 34 2.2.1. “Devils, Devils” by D. Kdzierzawska (Poland, 1991) 34 2.2.2. “Into the West” by M. Newell (USA / Ireland, 1992) 36 3. An exuberant, baroque vision - the films of Emir Kusturica 41 3.1. Emir Kusturica or the lure of excess 41 3.2. “Time of the Gypsies” (Yugoslavia, 1988) 42 3.3. “Black Cat, White Cat” (France / Germany / Serbia, 1998) 47 4. A view from the inside? - the successes and contradictions of the films of Tony Gatlif 53 4.1. Tony Gatlif, music at heart 53 4.2.
    [Show full text]
  • The 7 Countries of “Yugoslavia” Tour
    THE 7 COUNTRIES OF “YUGOSLAVIA” TOUR It used to be one country, we called it Yugoslavia. Today there are 7 Independent countries, 7 nations, 7 capitals, 7 languages, 3 religions, 23 UNESCO World Heritage Sites, 2117 km of coastline, 1255 islands, 110000 km (68350 miles) of roads. Ride from the beautiful coastline of the Adriatic Sea to the untouched countryside of inland Slovenia, Croatia, Bosnia, Serbia, Macedonia, Kosovo and Montenegro. Explore their capital cities, natural wonders, cultural and religious diversity and exceptional food and drinks while following the story of the present and the past. 1 TOUR AT A GLANCE START/FINISH: Split, Croatia FLY IN/OUT: Split International Airport, Croatia COUNTRIES: Croatia, Slovenia, BIH, Serbia, Macedonia, Kosovo, Montenegro DURATION: 21 days, 20 nights, 19 riding days ROUTE: Total distance 4200 km (2610 miles). The entire route runs on good asphalt roads. REST DAYS: 4 - Ljubljana, Belgrade, Ohrid, Dubrovnik HIGHLIGHTS: Split, Trogir, Plitvice NP, Ljubljana, Lake Bled, Zagreb, Sarajevo, Višegrad, Belgrade, Topola, Kopaonik, Niš, Skopje, Ohrid, Durmitor National Park, Budva, Lovčen National Park, Kotor Bay, Dubrovnik, Mostar ACCOMMODATION: 4*, 5*; best in the area TOUR DATES 2017: May 1 – 21, 2017 / September 2 – 22, 2017 MOTORCYCLES: BMW and HAREY DAVIDSON TOUR DAY BY DAY: Day 1: ARRIVAL SPLIT Our Team will meet you at the airport in Split, introduce you to first basic information about the area, and transfer you to the hotel. We will meet in the hotel lobby at 3:30 pm, and officially start the tour with a briefing and a little bit of paperwork; you will meet the other riders, and the motorcycles you will be riding.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Marinkova, Milena Po-co-co Balkans: Dancing Bears and Lovesick Donkeys, Bouncing Mines and Ethnic Conflict in Two Films from the Region Original Citation Marinkova, Milena (2010) Po-co-co Balkans: Dancing Bears and Lovesick Donkeys, Bouncing Mines and Ethnic Conflict in Two Films from the Region. Third Text, 24 (4). pp. 457-469. ISSN 0952-8822 This version is available at http://eprints.hud.ac.uk/id/eprint/17645/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Po-co-co Balkans: Dancing Bears and Lovesick Donkeys, Bouncing Mines and Ethnic Conflict in Two Films from the Region Milena Marinkova Following the end of the Cold War, the dissolution of Yugoslavia and the ensuing armed conflicts - all underpinned by violent and usually state-sanctioned ethnic nationalism - unleashed an unprecedented torrent of ‘moving’ images of the Balkans.
    [Show full text]