The Dynamics of Socialist Realism in Early Yugoslav Film (1945-1956) In

CEU eTD Collection Second RoumenDontchev Reader: Professor Daskalov Thesis Supervisor: Professor Yugoslav Film (1945 Yugoslav The

Dynamics In requirements for fulfillmentof the the partial and Political Influences Political and Balázs Central European University

of Socialist Realism in Early Early Realismin Socialist of DepartmentHistory of Trencsényi Budapest, Hungary Silvija BumbakSilvija Master of Arts Submitted to Submitted - 1956) 2014 By

in View of Literary View of in

degree

CEU eTD Collection such with instructions may permissionmade ofthe thewritten Author. without notbe accordance in made copies Further made. copies such any of part a form must the from obtained maybe Library. Details European Central the lodgedin and Author the by given instructions the with accordance in only made be may part, or full in Copyright in the text of the thesis rests with the Author. Copies by any process, either either process, any by Copies Author. the with rests thesis the of text the in Copyright i

librarian. This page page This librarian.

CEU eTD Collection cinematog of level the organization, and theinfluence censorship.Agitprop and of film on alterations the shifts, relation Yugoslav Soviet various through observed be also will subject The tendencies. liberalizing of threshold genre,experiencedsome fundamental changes despite official occurringfilm, onthe being the this In aspects. these of both embodies which left, literary the on Conflict the namely sphere, literary the in debates also but processes, political impo an so, doing In relaxation. conditioned of period the into culture Yugoslav on grip firm its of years the from style artistic this of development oscillating the trace to is attempt My legacy. realist socialist a regime the of affirmation the manifested largely a with cinematography Yugoslav (1948 period Cominform following the into stretching Abstract n h tm fae oeig h iiil immediate initial, the covering frame time the In

rtant prism of observation is not only the domain of contemporary contemporary of domain the only not is observation of prism rtant

primary focus on the domestic P domestic the on focus primary ii

nd, to that end, adopted the elements of of elements the adopted end, that to nd, manner, I will demonstrate how P how demonstrate will I manner, - 96, hs hss is t analyzing at aims thesis this 1956), post

- WI er (1945 years WWII ria im er which genre film artisan ahc institutional raphic - artisan 1948), - CEU eTD Collection Th Ireceived Viktor. from believing and forward me pushing suppor moral strong and kind their for Mladen and Ivanka Jugoslov and Yugoslavia of Archives the this behind standing people important The beyond. and sessions, seminar the all at with my provided they for appreciation less no deserve to proven have colleagues and friends my years, two these Throughout consultations. constructive and guiding of form the in Daskalov, Roumen professor reader, second my from received I help the for grateful very clearly was I moments struggling and confused those in encouragement for and as patience of well level as high comments, a displaying illuminative and insightful of plenty for Trencsényi, Balázs Acknowledgements is thesis isdedicatedis thesis tomygrandpa Jere.

professor supervisor, my to gratitude my express to like would I foremost, and First

project

are those who aided my two my aided who those are

with the idea over the over idea the with

in me. Lastly, I extremely appreciate extremely I Lastly, me. in nk kntk. ay hns o o y parents my to go thanks Many kinoteka. enska iii

direction

- time visit to Belgrade to visit time

that t . I thank my cousin Nina for firmly for Nina cousin my Ithank .

my thesis should take. should thesis my the suggestions and feedback feedback and suggestions the , especially the staff of staff the especially , the immense the

I am also am I

support

CEU eTD Collection Chapter 4:The Left amongChapterLiteraryOfficial 3:Theand Polemics the onthe Circles: the Conflict Cinematography Chapter andAdministrative 2: Political Circumstances of the Development for European Context Cinematographic Chapter forAesthetics, 1: Theoretical Realism Marxist Socialist Guidelines and theEastern Introduction Contents 1.3. 1.2. 1.1. 4.3. War, in Films 4.2. and Antifascist Film Context Partisan and Relation to Revolutionary, andAdaptation4.1. TheRealism Life in Socialist of Cinematography Yugoslav Liberalization3.5. inthe Period of Changes Period Realism Socialist andOpposing3.4. TheAdministrative Writers between Theories inthe Đilas3.3. Milovan 3.2. Miroslav Krleža 3.1. Pečat sveske vs.Književne 2.5. The of Mechanisms 2.4. The in Changing withthe Soviets andFilm Political Spheres Relationship 2.3. The Tito 2.2. TheFormsOrganization New inYugoslav Cinematography of (1945 Yugoslavia (1945 2.1.

4.3.2. 4.3.1......

From Slavica to Don’t Turn Around Turn From Slavica toDon’t

...... Chronologicaland Theirthe First Complexity Socialist Decade Divisions in of The Context Zhdanovism AestheticsMarxist against as theBackgroundaSocioeconomic of Theory Marxism The Sun is FarAway The Sunis Slavica

...... - Partisan GenreandPartisan Film Analysis Stalin SplitandStalin Issues theGeneral Created it

...... as the Prototype of Heroic Romanticism intheas AdministrativeHeroic Romanticism thePrototype of Period - 1955

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...... of Eastern EuropeanFilm Socialist in Realism

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...... Film Censorship ...... and Wriggle Novaković’s intoDeromantization ......

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...... , My Son ......

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...... - ...... 1950): ...... Yugoslav

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69 64 63 60 58 58 54 49 47 45 43 41 35 31 28 23 21 21 16 14

7 7 1

CEU eTD Collection Bibliography Conclusion 4.4. Later Inclinations of 4.4. Later War Genre andthe Film Partisan 4.3.3. Don’t Around,My Turn Son

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and the Further Departureand the theNorm from v

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84 81 78 75

CEU eTD Collection is Yugoslavia which to and most the clung that title the referred. usually (SFRY), Yugoslavia of Republic Federal Socialist replaced name was state the Yugoslavia, 1 affirma The masses. large the to accessibility its in condensed mostly offering, was film that potential strong the recognized andlegitimization its formeans the soughtgovernment communist the after, long victory.Not a produce to re through order memory collective in especially myth, new a demanded state new the building, identity and unification supranational Yugoslavism, of ideas the following by and Stalinism, stern message. political the transmit and story intended the tell would affiliatedthe conflicting global withneithersuperpowers of so the into and blocs two the between position political geo unique a into Yugoslavia drove This Union. Soviet the and Stalinism of criticism rough by underscored was which Titoism, as known widely became socialism” to “road Yugoslav Y of expulsion C formal a in resulted ultimately side, Soviet the from allegations of number a by followed which, Cominform the in domination Stalin’s accept re growingly became Tito Broz Josip leader communist Yugoslav but bloc, Еаstern the of countries the with side to necessitated was Yugoslavia stages early those In survival. after Introduction

muit lc y h isig f h Cmnom eouin n 98 The 1948. in Resolution Cominform the of issuing the by bloc ommunist From its official declaration at the Second Session of the Antifascist Council of National Liberation of of Liberation National of Council Antifascist the of Session Second the at declaration official its From the Second World War, struggled with establishing the elementary means of physical physical of means elementary the establishing with struggled War, World Second the

The post The poverty A by the name of Federal People's Republic of Yugoslavia (FNRY). Later, in 1963, it transformed into into transformed it 1963, in Later, (FNRY). Yugoslavia of Republic People's Federal of name the by

- World War II Yugoslav state aimed at at aimed state Yugoslav II War World - ridden state of socialist Yugoslavia socialist of state ridden

Democratic Federal Yugoslavi Federal Democratic

tion of the regime that was pursued became mainly manifest in manifest mainly became pursued was that regime the of tion - examination of the past an past the of examination 1

(DFY/FNRY a (DFY), which lasted until 1945 until lasted which (DFY), a - d emphasizing the glorious Partisan Partisan glorious the emphasizing d called “Th called constr –

the US or the USSR. the US orthe ucting a ucting With the abandonment of of abandonment the With 1 ) ird way” position, which which position, way” ird , following its formation its following ,

cinematography that cinematography ugoslavia from the the from ugoslavia independent

, and is then then is and , luctant to luctant - CEU eTD Collection literary the circles, artistic the of controversies and discussions the to next film Yugoslav of the this in forth bring I novelty The one. artistic an not agenda, political a in interested primarily was it over control state that being this inculcation, for reason for capacity the age, the of immense ingenuities artistic the behind lag to had content its and form its in development with and intervention, governmental to existence its owed it where regimes, socialist in especially art, of form expensive particularly generis developed be to order in funding state on dependency high its and that, for and propaganda,of means ultimate the as time that during conceivedis Film realism. socialist po the authority over andown rule monopolistic their tolegitimize governing parties regimesand the allowed it regimes, socialist of context specific the in and globe, the across prominence partic in genre war NOB manifestations, actually autocracy. as came of state anoutgrowth fa In regimes. socialist by instigated normally policy state firm with compatibility its to owed is throughout, shown be will as concept, this of prominence The regimes. socialist European a orientation artistic of type a realism, socialist of concept the is thesis entire this in underscored be will that concept cultural and theoretical the title, the in hinted As influences. and pressures different of myriad elevationII. during to demigod War status World anti local the of reminiscent genre, film Partisan the ct, some might claim that socialist realism, in most of its prominent forms and and forms prominent its of most in realism, socialist that claim might some ct, uain o te onre b etbihn ter rpei mto wti te cp of scope the within mythos prophetic their establishing by countries the of pulations pca atnin n hs hss s ie t fl production film to given is thesis this in attention Special and domain cultural Yugoslavia’s observes thesis This status in terms of its artistic development when compared to other art forms. As a a As forms. art other to compared when development artistic its of terms in status otd agal wtot xeto, y ieal al omr Eastern former all literally by exception, without arguably dopted, lr Tog n lne i is nac, h mdu o fl gained film of medium the infancy, its in longer no Though ular. 2

sis is sis - acs geil srgl ad Tito’s and struggle guerilla fascist the portrayal of portrayal the

its tossing and turning under a a under turning and tossing its

atsn er and genre Partisan

, it is granted is it , the development development the

film the the sui CEU eTD Collection chapter. opening in the especially thesis, 2 Slavica the for films important particularly fil the on themselves manifesting three Yugoslavia in tendencies artistic of choseinterpretation I contents. and forms their and films their combined and sphere, cinematic the and sphere literary the between interplay the into looking matter. on this film surrounding developments historical the of overview thorough a giveI Hence, film. Yugoslav on realism socialist stern of tradition film the of appearance the and a but soon, came doctrine the almost cinema by of conveyed ideas the of reform corresponding reinterpretations Some conveyor. its as film up use socialistfold ofcountries,had doctrine, Easternit everyits and to European reasonreinvent to (1945 as does it toartistic ones. thesispays This toboth. attention politic to much as owes socialism in development film control, Tito of form aggressive most the from depart to years five almost cinematography Yugoslav took it all at not or it, by affected st the as at such realism concept socialist restrictive a of aggression the off shake to tried which particular, in one

Zhdanovism, a conception ado conception a Zhdanovism, socialist realism socialist - Stalin split in 1948. Since film industry is a very convenient area for the exertion of state of exertion the for area convenient very a industryis film 1948.Since in split Stalin - 1956 Another novelty of this thesis lies in its emphasis on film review. Not only will I be be I will only Not review. film on emphasis its in lies thesis this of novelty Another perio time the in interesting especially is consideration This (1947), relationship with the political sphere, but I will also make the move to individual individual to move the make also will I but sphere, political the with relationship adtepltcl umi wihYgsai newn. s Yugoslav As underwent. Yugoslavia which turmoil political the and )

The Sun is Far Away Far is Sun The

Zhdanovism, g we fl pouto ws n t eris ifny and infancy earliest its in was production film when age . pt As my depiction of the historical circumstances will demonstrate, will circumstances historical the of depiction my As ed in the Soviet Union in 1946 in Union Soviet the in ed

The Sun is Far Away Far is Sun The

even though it had political cause to do so as early as the earlyas as so do to cause political had it though even

(1953) and (1953) and all its prominent influencers to shed some light light some shed to influencers prominent its all and 3

o’ Tr Around Turn Don’t , which was the first to break with the with break to first the was which , . It will be given closer attention later in the the in later attention closer given be will It .

seemed overlooked until 1953 until overlooked seemed al progressions and upheavals and progressions al ta I m observing am I that d , My Son My , (1956). The The (1956). ia left the left ia m screen: m scarcely scarcely CEU eTD Collection This provided. be to have will data empirical and theoretical of plenty Yugoslavia, in literary worlds and film the between cleavages and overlaps the demonstrate to order in and tale is due. it when cinematographiesand influences cultural those givento be will Credit East. the in and social Stalinist from deviating West the in both countries different graduallymany of influences cultural under be to came Yugoslavia country a As contexts. socioeconomic itself film course, of is, art of domains other or politics film from 1950s. the in roots their have 1960s, the from screen film the on liberalization and modernization for p what to corresponding not that, and fashion, abated an in but domains, artistic other to correspond content and form artistic its and development film that show results My chapter. third the in especially thesis, this in attention of lot a given tha for is which literature, as such art, of domains other in developments by unmoved analysis micro to macro from is, own my is it cons the to contribution as point, focal its view, my in is, films, those scrutinizes which thesis, this chapteroffinal The them. underpinning changes grasphistorical the orderto comparatively in o pattern formulaic strict a follow time this during films the since art, of domains other in happening turns and shifts many the of regardless Slavica time the fact, In reflecting. be to shown are the they context historical from isolated and vacuumed be course, of not, will films three these of interpretation

Finally, in order for film reviewing to tell us a con a us tell reviewingto film for order in Finally, One other important consideration and influence in this matter not coming from from coming not matter this in influence and consideration important other One and h Sn s a Away Far is Sun The

iderations by moving from the general story to the particular one particular the to story general the from moving by iderations . This is not to claim that the separate artistic plain of film is film of plain artistic separate the that claim to not is This .

s hw t b vr sann i trs f development, of terms in stagnant very be to shown is 4

f socialist realism. The films are analyzed are films The realism. socialist f opular belief proposes, overt tendencies overt proposes, belief opular –

coming from different countries and and countries different from coming sistent and comprehensive historical comprehensive and sistent space of six years between between years six of space t reason reason t , that , ism, CEU eTD Collection debate the of protagonists prominent most two the portray to on the move then in and had context, historical debate the stakes the and conflict the in clashed that positions the explicating s I indoctrination. entrenched its in culture artistic Yugoslav up shook that impetus intellectual the left, literary the on Conflict famous the into looks chapter third The thesis. the censorship system. Yugoslav the of specificities the examining by chapter the Iend tendencies. culturalYugoslav Tito the of account an that, after and war, th in organization cinematography concerning developments Yugoslav of overview an provide then I changes. and progressions artistic of basis the on it dividing and hand at frame time the conceptualizing to regard with authors different between d the at look a take I First, Yugoslavia. Second the of years early the in contexts been theor the to given is glance short A allows. chapter the of scope the as much as detail to attention an with bloc, Communist the in those as well as cinematography, Soviet on Zhdanovism of application practical the show endeavor I Finally, Zhdanovism. version, extreme most its and realism socialist into theory Marxist of translation rough) (very the concerns explanation theoretical further My theory. aesthetics proper Marxist the and discussion in realism socialist of my origins the discussing with start for I matter. subject the of relevant understanding bases theoretical different the of account the in for provided is fulfillment

influencing various film production tendencies oftheinfluencing time. various – The latter chapt latter The cultural administrative and political the on look closer a offers chapter second The

Miroslav Krleža and Đilas. Milovan Miroslav Krleža

by showing the systematic role of aesthetics in the totality of Marxist Marxist of totality the in aesthetics of role systematic the showing by ers delve deeper into the subject matter and the primary intentions of intentions primary the and matter subject the into deeper delve ers o Iain eraim wih wa which neorealism, Italian of y opening two chapters. The first chapter is a very wide wide very a is chapter first The chapters. two opening - Stalin split and the many consequences it had on on had it consequences many the and split Stalin

frt ie er floig the following years five first e

often often lie t have to claimed isagreements tart off by off tart to to CEU eTD Collection further at glance a offering by chapter developments place which following took thetime periodscrutiny. under the finish I development. cinematographic ord in age the of films representative these compare I and one, biographical the as well as context cinematographic surrounding the explain ideas, and intentions underlying its and films the of each into investigate thoroughly I particular. in life to came suppositions aesthetical and ideologies predominant the how us showing by matter subject the of understanding our improves which films aforementioned problem specific the to moves then focus My revolution. and war of notions the as well as cinematography, Yugoslav within realism socialist of position the grasp fully to attempting by genre Partisan Yugoslav the of details chapter final The

is of paramount importance to the thesis. It starts its inquiry into the the into inquiry its starts It thesis. the to importance paramount of is –

the individual and comparative analysis of the the of analysis comparative and individual the 6

r o ihih te esos marking tensions the highlight to er

film pieces in in pieces film

CEU eTD Collection the in mention without are terms latter the say to not is This ‘aesthetics’. and ‘beauty’, ‘art’, more certainly and value’, ‘surplus or value’ ‘use ‘alienation’, consciousness’, ‘class struggle’, ‘class materialism’, ‘historical as such terms with readers faces primarily 1.1. the into look firstly will I conception o framework, theoretical this of to order background In the aesthetics. understand Marxist of interpretation an merely considered be however may controvers with ripe were issues, aesthetic and art on Marxism in attention of lack a from resulting gaps, theoretical these with dealt that contexts socialist other and Soviet, Yugoslav, in discussions iss to them reduces or issues, little aesthetic pays to concerned, attention is doctrine original its as far as on Marxism, based determinants, theory economic materialist a As aesthetics. Marxist precisely, more or, theory, Marxist socialist of context theoretical The film). and forms literature art (namely, different in progression and manifestation uneven its and conceived, generally art, in ideal this surrounding controversies with deal will chapters following The Yugoslavia. se the of years opening the in production film to paid attention closer with expression, Context RealismtheEastern Europeanand CinematographicSocialist for Marxist Chapter 1: Theoretical Guidelines

Marxist theory, at least in its original form in the writings of Marx and Engels, Engels, and Marx of writings the in form original its in least at theory, Marxist artistic in realism socialist of ideas the with dealing be will thesis this of body The axs Ashtc aant h Bcgon o Mrim s a as Marxism of Background Socioeconomic Theory the against Aesthetics Marxist y and conflict, conflict, and y

f Marxist aesthetics. f Marxist as the third the as

chapter of this thesis will demonstrate. Socialist realism Socialist demonstrate. will thesis this of chapter 7

ues of materialist determination. The The determination. materialist of ues

Aesthetics, els i poie by provided is realism

fe than often cond CEU eTD Collection 3 in them use to knowledge their down “too material concrete the of consist which production, of slow forces the of to come may level the clarify, To change. superstructure) social of pyramid the in primacy see, their retain they development, shall we as (and production of the although anddeterminacy, social of base verythe at be to thought are production determinacy historical and history of function a Marxism, development: in things other most like is, art shown, be will as since, materialism, historical and history about claims Marx’s of quote famous a my start I Therefore, place. in already are concepts former the when materializes receive do they attention small the but theory, the of totality

Karl Marx, Marx, Karl n hist In less morerapidly transformed.” or is superstructure immense entire the foundation economic the of change the With revolution. social of period the comes Then fetters. From workhitherto. at been thing same the for expression legal a but is what or production, of relations existing the with conflict in come thei society in production of of forces material stage certain a At consciousness. their determines existence social their contrary, the on but, existence, their determines that men of consciousness the not ofis It life. of processes mode The determ consciousness. life social material of in forms production definite correspond which to and superstructures society of structure economic the constitutes of the of stage total sum definite The a production. of to powers material correspond their of which development production of relations these will; their of independent produ social “Inthe A Contribution to the Critique of Political Economy Political of Critique to the Contribution A –

rcl aeils, t s lie ta tee r tre ees f socioeconomic of levels three are there that claimed is it materialism, orical

forces of production, relations of production, and superstructure. Forces of of Forces superstructure. and production, of relations production, of forces

ction which men carry on they enter into definite relations that are indispensable and and indispensable are that relations definite into enter they on mencarry which ction

appr

forms of development of the productive forces these relations turn into their their turn into relations these forces productive the of ofdevelopment forms opriate ways, determine the manner the determine ways, opriate ines the general character of the social, political and spiritual spiritual and political social, the of character general the ines 8 -

h ra fudto, n hc rs lgl n political and legal rise which on foundation, real the –

with the property relations within which they have have they which within relations property the with portrayal of Marxist aesthetics by offering offering byaesthetics Marxist of portrayal

( Chicago: 3 C

harles H. Kerr, 1904). Kerr, H. harles

in which individuals will individuals which in ls” for production for ls” se relations of production production of relations se r development, the the development, r ,11 pp. relations relations - 12 and .

–

CEU eTD Collection 28 4 the within only of sense made be could value aesthetic and art, socialist produce would ar capitalist produce would societies capitalist art, serfdom produce tog be simply would determinacy, social of process the of point end the superstructure, of existence”, category the into lumped social “men’s by determined is which ‘consciousness’, of workings the superstructure. of consc class of development The systems. political and socioeconomic advanced most the as communism and socialism to up leading ensues, revolution, or transition, social power, own its and this of conscious becomes class advanc technological of growth the down slowing start production becomeconflic of relations When etc. roles, rituals, social norms, moral bodies), public (i.e. state culture, of understanding widest so the in society of “institutions” the the includes superstructure of rise the condition similarly production of relations it put to or of relations the condition production of forces production, of forces and people powerover effectiveof relations represent which production, the that said thus is It labor. organize in will productions of forces fact, social a as advancement constant this take weIf manufactured. be to products fortakes it goo consumable of production and power work the labor of expertise the as well as manual power, technological include which production, of forces The another. one to relate

Gerald Allan Cohen, Cohen, Allan Gerald - 85 te wt sca nrs ehc, eiin o lw Ruhy u, efo societies serfdom put, Roughly law. or religion, ethics, norms, social with ether .

Where would art be placed in such a socioeconomic conception? Art, as an outgrowth outgrowth an as Art, conception? socioeconomic a such in placed be art would Where

bluntly, relations of ownership. Finally, and most importantly for this thesis, thesis, this for importantly most and Finally, ownership. of relations bluntly, Karl Marx’s Theory of History: A Defence A History: of Theory Marx’s Karl

ted with thematerial

detnl cue hne i te a idvdas n groups and individuals way the in changes cause advertently ds, are expected to grow over grow to expected are ds, 4

iousness, or its prevention, is especially tied to the to tied especially is prevention, its or iousness, 9

forces

of production insociety,of i.e. production

( ement, as well as when the oppressed the when as well as ement, Oxford: force to apply this technology in the the in technology this apply to force

time, and, thus, shorten the time time the shorten thus, and, time, Oxford University Press, 2000). Press, University Oxford - called superstructure. The The superstructure. called , n oils societies socialist and t, , when they when they , the term the

would ,

pp. –

CEU eTD Collection 72 pp. http://onlinelibrary.wiley.com/doi/10.1002/9780470756119.ch8/summary, Ltd,2003), Publishing 5 betweenhistorical progressionartistic development socioeconomic and time: over of power production its relations, and maintain somayaart social be toservefunct seen relations existing the to conform to society the anesthetizing Marx, in masses the for opium is toprovide legitimacyexists to art thusconceivedan ofitstechno reduction ismerely impotent would anthropologists, perhaps and historians sociologists, than other Theoreticians, relations. economic particular on raised superstructure

Friedrich Engels, “Letter to Joseph Bloch (1890)”, in (1890)”, Bloch Joseph to “Letter Engels, Friedrich model beyond attainment. (...) The charm their art has for us does not conflict with the primitive primitive the with l the of product conflict the rather is It sprung. had not it which from order social the does of character us for has art their charm The (...) attainment. beyond model aest of source a us with constitute still they why understanding in lies rather It development. social of forms certain with up bound are compatib all epos and art Greek that idea the grasping in at not is difficulty the But (…) press? steam and press printing Iliad the is Or lead? and powder with side by side possible Achilles “Is the relation in be somethinguneven theremay elsewherenotesthat Furthermore, Marx form.” their determining in preponderate cases many in and struggles historical the of course the upon influence their exercise dogmas of systems into particip development further the their of and views brains religious theories, the philosophical in struggles actual these all of reflexes the even and forms, juridical etc., battle, successful a after class victorious theby established wit:constitutions to super ofthe elements various but the basis, the is situation economic The phrase. senseless abstract, meaningless, a into proposition that transforms he one, determining only the is element economic the that saying into this twists somebody if “Hence butinert, not is superstructure the then true, is EngelssaysIf what merely, Not though.

its established relations of production. Insofar, just like religion religion Insofar, justlike ofproduction. relations established its hetic enjoyment and in certain respects prevail as the standard and and standard the as prevail respects certain in and enjoyment hetic structure structure 10 Marx and Modernity and Marx

–

not take independent interest in art, since since art, in interest independent take not political forms of the class struggle and its results, its results, and struggle class ofthe forms political - economicsurroundings. , Robert J. Antonio, ed. (Blackwell (Blackwell ed. Antonio, J. Robert , ants, political, juristic, juristic, political, ants, atter, and is rather rather is and atter,

le with the the with le - 73. ion:

–

also also

CEU eTD Collection 6 means artistic domain, allows conceptualizing asit aart weapon as socialist legitimization. of regime as Stalin’s society. serves perfect a to primarily up leading in which revolution and development art, historical to function of forms over control political of policy a into perfectly versa. vice and society, proletariat a in emerging piece bourgeois a of conceive not could one doctrine, theoretical the within if, even commonplace, were work “bourgeois” supposedly of prohibition and censorship so t incompatible forms in arise cannot works artistic that claim Marx’s ignore simply would machines propaganda practice, In socialism. within citizens of consciousnessthe harm conversely, or, state, bourgeoisa inside consciousness class adevelop utilized be may it determination, social in participates superstructure, the of part as art, since And it. from arising not art of forms enjoying of possibility the allows it prescribes, period, time

Marx, Marx, A Contribution to the the to Contribution A a wl as well as , of stimulatingconsciousness: class it shatters the optimism of the bourgeois world, instills do instills world, bourgeois the of optimism the shatters it them, about illusions conventional down breaking relations, mutual real the describing conscientiously c social the particular without action, of solutions and historical future the reader situation the on obtrude to the obliged not is writer from the that and itself indications, by flow should bias the that think I „But best the as proletariat the of reality of portrayal the considers Engels realism? Why specific a to tied still is art of creation the that suggests paragraph the though Even cannever return.” appear could it alone which under and arose theart which under conditions social unripe the that fact the to due

n cno eeg i frs ifrn t wa te oieooi epoch socioeconomic the what to different forms in emerge cannot and onflicts pictured (…) a socialist a (…) pictured onflicts other socialist regimes, particularly favored this understanding of the the of understanding this favored particularly regimes, socialist other

Critique of Political Economy Political of Critique 6

From a From

- pragmatic standpoint, such an understanding fits understanding an such standpoint, pragmatic biased novel fully achieves its purpose, in my view, if by if view, my in purpose, its achieves fully novel biased 11

, pp. 310 ,pp. ubt as to the eternal character of the existing existing the of character eternal the to as ubt - 311 .

o their socioeconomic contexts, socioeconomic their o

to help to

CEU eTD Collection Left New the to Morris William 9 i purposes. political for readily adapted easily was context, out of taken Marxist theory, was value’ ‘use in ‘use’ the while down something actors, market among status its to due received 8 1974) Press, 7 which was thestate, inYugoslav socialism then back largeenough one only investors, and the without survive not could industry film The Parties. the of orientation artistic “official” the was it since realism, socialist of clutches the in longest remained film, namely resources, of high in art of area the chapter, third the in especially and thesis, the in later shown j the under projects, purest ideologically proposing those to granted be would art of funding Likewise, revolution. social m not did piece art an of justifie easily be could control, its of kind other any of forces and art relations. between emerging their as well development as production, uneven the and society, classless a of goal the the theory: value, exchange over aesthetic value use of primacy Marxist of components four essentially were there notes, Mitchell was theoretical directlythe Marxist from inherited le formula this that justified be hardly canIt proletariat. the agitate and inspire to socialist aiming project the about idealism and heroism with this combines and oppression”, “bourgeois its in only reality towards tends context Stalinist the from Socialist arose regimes. that socialist realism in production art control to utilized and practice to put when

Exchange value was often considered vulgar by the Marxists since it represented only the value some good good some value the only represented it since Marxists the by vulgar considered often was value Exchange Maynard Solomon, Solomon, Maynard tne Mthl, Mkal isis A Marxi A Lifshits: “Mikhail Mitchell, Stanley These considerations were later translated into a conception of Marxist aesthetics. As aesthetics. Marxist of conception a into translated later were considerations These ways of manifold a in interpreted however, is, art in realism of endorsement Engels’ side.“ particular any on openly up line even not does or solution definite any offer not does author the although order,

, 67, p. - to . -

earth, like providing entertainment, but serving some higher political goal. The wording of of wording The goal. political higher some serving but entertainment, providing like earth, axs ad r: sas lsi ad Contemporary and Classic Essays Art: and Marxism 7

(Engels, from a letter to Minna to Kautsky) letter a from (Engels, , Andrew Hemingway, ed. (London: Pluto Press, 2006) Press, Pluto (London: ed. Andrew , Hemingway, th h prevd ol f h P the of goal perceived the atch siiain f et iig h rvltoay as. s il be will As cause. revolutionary the aiding best of ustification

t osraie, in Conservative”, st 8

the role of art realism in the in realism art of role the 12 9

Within this conception, censorship of art, or art, of censorship conception, this Within d if some state committee’s interpretation committee’s state some if d gacy.

Marxism and the History of Art: From From Art: of History the and Marxism arty

– (

Detroit: Detroit: h ever the , p. , 32 Wayne State University University State Wayne making of history, of making - escaping ideal of of ideal escaping .

nterpreted not as as not nterpreted

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CEU eTD Collection 56. 1945 Yugoslavia) of Communists of (League Yugoslavia of Party 11 doi:10.2307/2498389 10 otherfolklore, ofshows. filmkinds music, and cultural true the convey to attempt an In solidarity. workers’ and theory Marxist country, the of restoration the and struggle liberation the as such motivations in but legacy, spiritual or prose or poetry source that claim would They attention. of unworthy is work cultural and artistic in agitation functional idea, of decadent absence the a that as holding art of sake the for art of notion the condemn would realism social of and dangerousaccusations. criticism VsevolodfacedKuleshov, Aleksandr Dovzhenko,hard Vertov, and Pudovkin, Dziga these For line. ideological Party’s the followed strictly they case in educate, to meant were they masses Pervyy cou example,it in the Soviet was hardeasily since proclaimed theideologues, toplease filmswere shows AsKenez jobs were quite dangerous. an line, their ideological follow hadfilm artists to ar other to compared lag ideological cinematography’s conditioned

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legacy to the laborers and peasants, the Party aimed at organizing free theatre, free organizing at aimed Party the peasants, and laborers the to legacy , “Between Ideology and Reality: Socialist Concept of Cultural Policy of the Communist Communist the of Policy Cultural of Concept Socialist Reality: and Ideology “Between , , pp. 415 pp. , - first]

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27, no. 1 (2009): 37 (2009): 1 no. 27, Sorok – CEU eTD Collection 14 clarity. traditional simplicityand withof ofart requirements perception 13 47 12 unde socialist also in is censorship regimes towards tendency Zhdanovist A ends. functional only following nowhe as proposed, Engels and Marx frameworks theoretical the in rooted not is Marxism, to appealing heavily though undertakes.” art which role popular the from resulting comple of rejection the that considered Zhdanovists out, points Solomon As line. communist the from deviate to them prompting and message, political full a receiving of incapable them rendering audience, the confuse would of use the as such elements, “intellectual” employing that Tito the after methods these portr stereotypical a and fe a style, just name to characters, narrative linear extensive a the design, like elements, plot Zhdanovist in adopted simplification come, to chapters the in to attention standard realism socialist of elements three propagated struggle”. of “weapon ideal an t with associatedZhdanovism, 1.2.

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, p. , as , CEU eTD Collection 16 Society 15 to capitalism from breaking that believe truly we If form. factual into it translating and th of prophecy Marxist the internalizing of condition the on rests artisti dependent, towait for wouldhave ideological film its updates. static more a As last. would regimes the between out falling the whether certain not was it since split, the after time some for agencies the remained realism socialist of version set ideological own very Yugoslavia’s out figure to needed but upon, call to model a lost only fr third the as way, under were which aesthetics, Marxist of format rigid supposedly the questioning debates aban the for reasons The inspiration.public agitation,and propaganda,of purposes means the artisticfor influential and flexible most the be to film considered Party the those, all Of etc. magazines, events, cultural compa singing orchestras, theatres, of charge in was Đilas, Milovan by chaired branch, Agitprop The 1945. March, as early as founded was which of needed it through, and latter propaganda, foragitation both and the command censorship, committees offices and ideal the see To War. World Second the of end the post Censorship”,

om 1948, which instantly instilled trouble in the ranks of the Yugoslav ideologues, who not who ideologues, Yugoslav the of ranks the in trouble instilled instantly which 1948, om Solomon, Solomon, Karl Marx, Karl - p ht ol dpr fo US scaim n oecm i. vn o th so, Even it. overcome and socialism USSR from depart would that up - revolutionary situations. , D. Easton and Kurt H. Guddat, ed. Guddat, Kurt H. Eastonand D. , It might be said that the understanding of socialist realism as truly depicting reality reality depicting truly as realism socialist of understanding the that said be might It following Soviets the from Zhdanovism adopted industry film Yugoslav the stated, As Marxism and Art and Marxism

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as is as their appeal to Lenin, who insisted on freedom from censorship even in even censorship from freedom on insisted who Lenin, to appeal their

chapter will show, but in the political conflict between Tito and Stalin and Tito between conflict political the in but show, will chapter , p. 237 , d onment of Zhdanovism should onlypartially should Zhdanovism of onment 16

( Indianapolis: Indianapolis: un official cultural stance of the authorities and their and authorities the of stance cultural official 15

Hac kett Publishing, 1997) kettPublishing, c form controlled from the center and and center the from controlled form c

Writings of the Young Marx on Philosophy and Philosophy on Marx Young the of Writings is gleis im ltrr and literary film, galleries, nies,

e glorious times of socialism of times glorious e

, pp. pp. , 67 be sought in the heated heated the in sought be

- 92 to establish and and establish to .

Zhdanovist e already already CEU eTD Collection 1981) Press, California of University (Berkeley: 19 Documents and Sources of Anthology 18 2003) Press, CornellUniversity 17 etc. wounded, the of plight the to indifferent wives miners’ and battlefield the on soldiers fellow their help Army Red ofpicture a painting resided, Germans where Basin Donets the of inhabitants as ways Soviet to alien are who people on focusing drunkards, backward to sequel film 1.3. years. its in reality development”. revolutionary “depict to was art of purpose main the that believed Zhdanov Zhdanovism. of true particularly was understanding This regardl not. or proletariat, happened already the supposedly it of whether eyes very the of front in itself but unveiling propaganda, truth not historical is film on it showing inevitability, historical a is prophecy socialist so be will and life show is This socialism. to moving it to show to fail cannot he truthfully, it oughtshows he if And truthfully. artist “the 1932, in stated Stalin As reality. glorious a demonstrating pre its transcending country a of portrayal artistic an then that), at one glorious a (and inevitability historical a is socialism

Andrei Zhdanov, “From Speech at the First All First the at Speech “From Zhdanov, Andrei David Lloy David Mira Liehm and Antonin Liehm, Liehm, Antonin and Liehm Mira

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In Soviet film, Zhdanovism as a doctrine first took effect with the resolution “On the “On resolution the with effect took first doctrine a as Zhdanovism film, Soviet In The Context of Eastern European Film in Socialist Realism

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Stalinist Values: The Cultural Norms of Soviet Modernity, 1917 Modernity, Soviet of Norms Cultural The Values: Stalinist , p. 161 , 18

- , Socialist Yugoslavia would follow this fo this follow would Yugoslavia Socialist 17 soci by Vassiliki . The Most Most The

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, pp. 47, , 49 47, pp. motn At Sve ad at uoen im fe 1945 After Film European East and Soviet Art: Important - Kolocotroni Union Congress of Soviet Writers 1934,” 1934,” Writers Soviet of Congress Union 16

( Chicago: Chicago: University of Chicago Press, 1998). Press, Chicago of University nid Lukov, nid

soldiers as unwilling to unwilling as soldiers rmula in its opening its in rmula - in 1941

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( New York: York: New ess of of ess

CEU eTD Collection 21 20 that Following patron. Soviet its with ties its sever to came Yugoslavia as just 1948, in halt a avant individualistic and socialism towards inclinations between floating War, they restrictions. did,East severe Germanysuffered artistic butonce (1949), consolidate state realismthenew within would socialist of under doctrine the avant humanism. politicalone a is goal DEFA’sprimarythat were ideas as Zhdanov’s early as echoed authorities. Soviet of supervision direct under was Gesselschaft) Aktien Film (Deutsche DEFA group film founded newly the Republic, Democratic German (1946). leader. great the Stalingr from him to of down passed methods new Battle of help the the with one older an to outmaneuvering refers title the from point Ermler’s their decisions faced diffic withsome doubting in time spare no took who figures relentless and uncompromising, strong, Nakhimov Eisenstein’s as such titles garde

Ibid. Ibid. - , 76, p. , garde spirit. It would take some take would It spirit. garde

pp. 50 pp.

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(1946), and Kozintsev’s Kozintsev’s and (1946), . 21

- 52

20 The directors under DEFA, however, managed to uphold the previously fostered previously the uphold to managed however, DEFA, under directors The

Another model example, claims Liehm, is found in Chiaureli’s Chiaureli’s in found is Liehm, claims example, model Another

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to educate people in ways of true democracy and democracyand true ofeducateways to in people Terrible, Part II II Part Terrible, 17

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t advisor, Colonel Tulpanov, stated Tulpanov, Colonel advisor, t

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CEU eTD Collection 22 critici to time took congress The Party. Workers’ Polish the of strengthening the following Wisla, at Congress 1949 the at realism socialist towards turn a took however, too, cinematography Polish loss. rapidly) quite grew industry film Polish as the commemorating loss, and tragedy their by marked heavily were that films produced War, World Second the following naturalistic”. film his and hard Stalinist the Even blessing. them giving and films passing about strict very was however, regime, Zhdanovist The impressive. surprisingly out came industry, into that Katka instance for states, She something. accomplish to managed still Slovaks and Czechs the country, the in Party the of entrenchment the following ensue to was that filmmaking ( ( neorealist cinematography’s Czechoslovakian sui committed avant all Almost scene. the enter finally could Par Communist the that sure made Soviets when 1948, and industry, developed and tradition liberal democratic, the to owing region that in specificity soon. time any Zhdanovism endorse would it like seem not did des Union Soviet the split, h Pahrs Ward Poacher’s The

Ibid. Forbidden Songs Songs Forbidden its dreams of a unique socialist road not yet paved yet not road socialist unique a of dreams its , , p

(1949), a film depicting Slovak girls leaving the countrys the leavinggirls depicting Slovak film a(1949), To name one more example of an (d)evolving socialist cinematography, the Poles, Poles, the cinematography, socialist (d)evolving an of example more one name To . 102 . .

e at o Live to Want We ie r ld h cuty Zhdano country. the fled or cide ze successful Polish postwar films, as well as Italian neorealism. Some of Some neorealism. Italian as well as films, postwar Polish successful ze

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Francesco Casetti, Casetti, Francesco Ibid. periods , pp. , 112 pp. – ,

Even though political circumstances and pressures led these and other Eastern Eastern other and these led pressures and circumstances political though Even Italian neorealism, which had already made significant influences in certain countries, certain in influences significant made already had which neorealism,Italian had to be remade and adapted to the new conditions of socialist realism. The film in film The realism. socialist of conditions new the to adapted and remade be to had

s o scait atr Erp. tla noels fud tef t ds with odds at itself found neorealism Italian Europe. Eastern socialist of ose preceding socialist realism socialist preceding - 119 , u js i te tagtowr fr akolde b scait realists. socialist by acknowledged form straightforward the in just but r, .

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Neorealism was seen as a means of reestablishing of means a as seen was Neorealism

( Austin: 19

(1950) (1950)

ist realism, it is clear fr clear is it realism, ist University of Texas Press, 1999) Press, ofTexas University - – 1952) –

and, for the most part, a revamped revamped a part, most the for and, in that sense, neorealism deals with with deals neorealism sense, that in by Roberto Rossellini, Vittorio Rossellini, Roberto by om these examples these om Warsaw Robinson Warsaw , 24, p. .

CEU eTD Collection depiction ofreality fact as materialized tantamount. is capturing not is, it as life capturing of principle a follow ne but portray, to comes it what in bias obviously is there as critical, politically be cannot realism mean not does It it. see would socialism as real notonthe life, facts thehard ison of bringing filmtogether.here, then, focus and The life impetus the where is which real, the for appreciation an reestablished liberation of achievement the for struggle the and war the that point Zavattini’s Cesare echoes also Casetti

orealism in its Italian version attempts to attempts version Italian its in orealism

imagination coming into reality into coming imagination is for lies . The The . CEU eTD Collection 1973) Press, 29 follow. 28 27 2002) Press, University 26 1988). “Rad,” organizacija radna Izdavačka 25 social liberation. and cultural for search the in dogmatism, and realism socialist against struggle the period the and intermediation), and interference poore (the 1950 until 1945 from post Yugoslav de diff by followed romanticism somewhat a imagining genre, war the on but mold and decentralization (1945 period administrative the proposing thus film, of domain 1952. and 1945 between lasting phase Agitprop the of inquiry his on scopes temporal the bases criteria. their for observation of different prism or study of by subject the on dependent proposals to owing clash, times other at or overlap sometimes which film, and art to regard with exist divisions periodical and timelines different several 2.1. DevelopmentYugoslav of Cinematography Administrative and Political 2: Chapter

Milutin Čolić, MilutinČolić, vt Lukić Sveta They are, according to Čolić, further developing into Antiheroic romanticism, and Tragism in the years to to years the in Tragism and romanticism, Antiheroic into developing further Čolić, to according are, They Ljubodrag Dimić, Dimić, Ljubodrag Daniel J. Goulding, Goulding, J. Daniel

S ChronologicalDivisions Theirand Complexity in the First D 25

ocialist Yugoslavia(1945

In the first post first the In Daniel Goulding sets the time frame according to the ch the to according frame time the sets Goulding Daniel

, pp. , 9 pp. It is equally worthy to consider here Lasić’s chronological and stylistic divisions. divisions. stylistic and chronological Lasić’s here consider to worthy equally is It , Contemporary Yugoslav Literature: A Sociopolitical Approach Sociopolitical A Literature: Yugoslav Contemporary Jugoslovenski ratni f ratni Jugoslovenski - war literary aspect, and distinguishes phases of the initial socialist realist stage realist socialist initial the of phases distinguishes and aspect, literary war - 13 . gtrp k Agitprop

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, pp. 170 pp. , u rcet ih administrative with richest but 1955, the period of polemics in polemics of period the 1955,

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90, n te eid of period the and 1950), (Urbana: University of Illinois Illinois of University (Urbana: - 2001 Goulding,as well as film - 194

( Bloomington: Bloomington: Ljubodrag Dimić Dimić Ljubodrag - 1952 ecade authors and and authors

( Beograd: Beograd: Indiana Indiana of CEU eTD Collection later. willdiscussed which be 1952, and infilms1951 domestic banned of thecases filminsphere the 1950 and 1949 in CPY within Cominformists 32 31 30 and idiosyncrasies its art compared forms. toother regard will traces thesis how these A specialemphasis this in governance. socialist of tracestotalitarian no therewere Cominform yearsof later the in that me 1950 years the during reforms of period The chapter. anti of direction in Yugoslavia “democr noti the implying also socialism, to road Tito’s Titoism rising Tito the until period administrative the to refer justifiably the Conflictonleftreforms. and mentions he as early as achieved means mold the film, on that, claim Goulding, to conversely two would, I final chapters. the in examined controversies, introduc artistic an understanding for as context two, sociopolitical latter the on placed is chapter (1949 left” literary the of collapse the orientations: “new (1935 realism” “new the to belonging rather but standpoint, literary a occupies likewise Lasić Stanko

Josef Kalvoda, Kalvoda, Josef Lasić, Stanko The cases of political exile can be drawn attention to even in the period of reforms, for instance of alleged alleged of instance for reforms, of period the in even to attention drawn be can exile political of cases The thods of these policies and doctrines, at least in their severity. This is, however, not to say say to not however, is, This severity. their in least at doctrines, and policies these of thods Another perspective can be proposed bearing an ideological mark, so that one could one that so mark, ideological an bearing proposed be can perspective Another atization” Sukob na književnoj ljevici 1928 ljevici književnoj na Sukob wih s by is, which , Titoism and Masters of Impositure Masters of Titoismand

Conflict on the left: left: the on Conflict . 31

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CEU eTD Collection 33 Belgrad in Film Avala was largest the republics: six the of each in distribution C for made. were films educational and short 27 and newsreels 60 that ascerta already could it month next and industry, film for support granting to firmly more Tito. by fil of development June, in year same the 1946, in introduced nationalization of program the with Along activities. for founded organization, cinematographic dom of distribution and production centralized at attempt first the as recorded was it enterprise, film state exclusive the As Yugoslavia. of Republic People’s Federative by replaced 1945 war resourceful in but were early, arrangements these However, production. film small supervise and ticket prices, cinema establish Allies, the from films the distribute to section film improvised an ( headquarters main the of propaganda for Department the 1944, in war, the during Even Czechoslovakia. and Poland Hungary, as such newly other its in existent comparison, by was, which tradition, pre a without and professionals, trained equipment, film system, production any infrastructure, of deprived wasWWII, of disasters the from emerging just state, Yugoslav During factors. 1950 2.2.

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CEU eTD Collection Yugoslavia. Tito's in apolitician leading Slovenian Kardelj, 41 and Companies 40 p. 127. 2011), ofBelgrade, University (PhD diss., the 1960s], in Reality Film ofYugoslav [Americanization 39 the in only payment received they that meant which workers”, film “free of status a acquired self the With distribut the in nor relations, workers’ the in neither influence, no almost had councils workers’ these practice, in However, affairs. wage and production in authority and theoret and, involvement its lessened had state the that but USSR, the like system centralized a have not Marxism of reinterpretation a codify to attempted p which force, advanced an as CPYintegrity the protectnecessaryof alsoas seento was state, centralized of the hands the in self of concept The development. itse distance to attempt Yugoslavia’s by and Yugoslavia, break the by induced stagnation economic the by influenced was Kidrič Boris of initiative the at 1950 in appropriated was which sel workers’ the with occurred industry film Yugoslav of reorganization second The dramatically. changed artist of position the while organizations, and institutions 33 but imported, American w ones was film Soviet single a not after year a only while ones, American 19 with together imported were films Soviet 18 1949, in and quickly, arrived conversation the of industry picture motion American

The full name of this legal act from June 27 June from act legal this of name full The Boris Kidrič was a member of Yugoslav Politbureau in charge of the Yugoslav economy, and, along with with along and, economy, Yugoslav the of charge in Politbureau Yugoslav of member a was Kidrič Boris aia uei, Aeiaiaia uolvnk flse svakodne filmske jugoslovenske “Amerikacizacija Vučetić, Radina Decentralization in the 1950s meant the acquisition of independence for many cultural cultural many for independence of acquisition the meant 1950s the in Decentralization ically, granted the workers’ councils in individual enterprises a level of autonomy autonomy of level a enterprises individual in councils workers’ the granted ically,

Higher Economic Associations from the Side of Working Collectives”. ofWorking theSide from Associations Economic Higher - aaeet a, l te imaes ot hi praet mlyet and employment permanent their lost filmmakers the all law, management ere.

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Leninism and demonstrate how SFRY does does SFRY how demonstrate and Leninism lf from the Soviet concept of social of concept Soviet the from lf 41

ie 60 vice and Milovan Đilas. This act This Đilas. Milovan and - up between the USSR and USSR the between up Eric Johnson Eric

f - h oia 0 veka” 20. godina ih - management law, management ion of profits. of ion . 39

The effect The

CEU eTD Collection 18 47 Beograd, delatnost publicisticka 46 45 1981. 9th, 44 p. 3. 5, File 46; 43 1998) NZGlobus, 42 excessive the due for tothe risingfirms. individual costs ofthe concerning problems of pos financial difficult variety their causing firms production a of atomization and disintegration to led production film of network S released some self and workers free recorded of status the of introduction it Nevertheless, structure. acco film the of favor of in 1951, April, decentralization in disbanded formally was film, of development early the organizational decentralized new sc this of establishment the With film suit. the followed economically, industry and politically decentralized became Yugoslavia As autonomy. self that stated he workers, film cinematography ofno thestatus free of status the considering 3 2 to workers film the tying of absurdity the and resolved, from far was teams film creative to firm a of relation the funds, pension and security social system, contract new the by protected part as making, film particular of process -

arajevo released arajevo Taylor et al., al., et Taylor Arhiv Jugoslavije [The Archives of Yugoslavia]. AY, F 405, Savez za kinematografiju PKJ, PKJ, kinematografiju za Savez 405, F AY, Yugoslavia]. of Archives [The Jugoslavije Arhiv 45 pp. 42/7, File PKJ, kinematografiju za Savez 405, F AY, Yugoslavia]. of Archives [The Jugoslavije Arhiv Ivo Tomljanović, „Kinematografija se ne tretira kao umetnost (razgovor sa Brankom Bauerom),“ Bauerom),“ Brankom sa (razgovor umetnost kao tretira ne se „Kinematografija Tomljanović, Ivo Škrabalo, Ivo in force guiding centralized the been had which Cinematography, for Committee the heme, year long contracts only made it worse. it madeonlyyear contracts long Petar Volk, Volk, Petar mplishments. h pltcl ytm oe twrs eeaim a ec rpbi ws ie greater given was republic each as federalism, towards moved system political The

Frosina

soia uolvnkg f jugoslovenskog Istorija The BFI Companion to Eastern European and Russian Cinema and Russian Eastern European to Companion BFI The 101 godina filma u Hrvatskoj 189 Hrvatskoj u filma godina 101

, pp. 154 pp. , te is Mcdna mto pcue i 1952, in picture, motion Macedonian first the , 45 Major Bauk Major

The expansion of the number of production firms came about after the after about came firms production of number the of expansion The

- 155 . 1986

). in 1951. in - , p. p. 8 , man’s land. ilma .

Bord IO atznk kn Partizanska IRO (Beograd: 46 43

However, the mentioned process of developing the developing of process mentioned the However,

6 Or when Croatian director Branko Bauer was later later BauerwasBranko directorCroatianwhen Or 44 - - 1997: pregled povijesti hrvatske kinematografije hrvatske povijesti pregled 1997: ie workers. time 26

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n Bsa im from Film Bosna and .

- aaig granted managing File 42/7, pp. 17 pp. 42/7, File noteworthy Borba

( Zagreb: Zagreb: itions itions , July July , - - - - CEU eTD Collection 50 49 175 p. 48 division of ( category workers Film another of Union The while concerned Companies, Film of Association later The (studios), as production organized film for Companies into divided further was area production distribution artistic control. cultural soug sphere state the As a founded was Yugoslavia of Workers Film of Union the and republic each worker film Yugoslav of Association Croatian magazine Slovenian the was platform their Primarily, production. cultural r also were film, Yugoslav of maturing the it. sponsored personally but venue, the at present only not was Tito that is event the of significance the c of development further for incentive huge a as served it such, revija Filmska named initially Pula, in festival film first the of founding the was crisis the of overcoming the designat which events main the of one Probably crisis. of out film delivering for potential a out seeking in audiences to themselves oriented workers film the Thus, production. film for project of financing

Ibid. Goulding, Ivo Škrabalo, Škrabalo, Ivo .

, pp. , 32 pp. After June 1950, in the new, tri new, the in 1950, June After self on law The

magazine Liberated Cinema Liberated

– 36 set out to create a unique system of socialism through reforms, members of the the of members reforms, through socialism of system unique a create to out set 48

Između publike i države: povijest hrvatske kinematografije 1896 kinematografije hrvatske povijest države: i publike Između

. eetaie ad eaae tee he cnttet fi constituent three these separated and decentralized 50

[Film review] [Film A group of well of group A

ht to free their work of dogmatic propagandistic formulas and gaingreater and formulas propagandistic ofdogmatic work free their to ht s im Review Film

. Each republic now had to extract a certain amount from their budgets budgets their from amount certain a extract to had now republic Each . - management and the establishment of “free workers” has changed the the changed has workers” “free of establishment the and management , pp. 42 pp. , ,

in 1954. A response from the audience was noteworthy and, as as and, noteworthy was audience the from response A 1954. in - - 43 to contributed who theorists, film professional and informed is .

ud n arb oehr ih P a with together Zagreb in sued s. - partite constellation partite 49

which re soitos f im okr wr cetd in created were workers film of associations Free esponsible for terminating the harsh period for for period harsh the terminating for esponsible 27

gather ed

l te r the all –

film production, film trade, fil trade, film production, film inematography. What added to to added What inematography. pbi fe fl workers’ film free epublic - 1980 lm activities. The film film The activities. lm ry esae o the of newspaper arty

( Zagreb: t the end of 1950. 1950. of end the t Film Znanje, 1984). Znanje,

n the and ed ed m , CEU eTD Collection 51 th in power Tito's the of for increase potential a concerned fear Stalin's Bulgaria. and Albania Greece, with federation and Yugoslavia outside ambitions to position inferior his with 2.3. The Tito only for oftheCinematography. State afterpermission Commission expo potential and republic each to distribution with continues process the projects the of completion the After funding. reject to power of form the in but directly not though content, f subsidy of level the determine then would Boards Film The status. priority and subsidies for requests with together Board Film Republic appropriate the to approved been had which those forwarded write the After productions. proposed the of directors and Writers notified Council Writer’s the and subject suitable the determined company filmmaking each of Council artistic The Party. the by governed again ideo their had chambers These enterprise. “Film or cinematography for tothem byan each script submitted for subsidy amount of Boards” the todetermine continued Committees the Committees, Republic the to transferred Althoug producers. film the limited levels, and republic federal on both chambers, economic formed Newly fund. film State the by allocated 1950s early the In associations).

Stoil, Stoil, Balkan Cinema Balkan h raos o te break the for reasons The - Stalin Split andthe General Issuesit Created r ah rdcin Ti etteet ae h Bad h vt oe film over veto the Board the gave entitlement This production. each or , pp. , 48 pp.

- 49 Stalin in Stalin .

rs submitted their scripts for review, the Artistic Council Council Artistic the review, for scripts their submitted rs e region, but the official accusations were made only on on only made were accusations official the but region, e ,

- im rdcin eand evl dpnet n subsidies on dependent heavily remained production film p with up

the hierarchy of the c the of hierarchy the atd o establish to wanted

the logical leadership in the form of Commissions, Commissions, of form the in leadership logical 28

oit wr mnfl. io a dissatisfied was Tito manifold. were Soviets

te cul noe diitain was administration income actual the h ommunist movement. Also, he had had he Also, movement. ommunist

Yugoslav a 51

oiae Balkan dominated rt CEU eTD Collection accused were Party) the 56 afterdisapp soon and in 1948, got arrested spy, ofbeing Stalin’s and separatism into sliding Yugoslavism, ofnot stressing whoaccused afterbeing Croatia), top a 55 as regime the opponents. political served 1956 until 1949 from which 54 53 1992). 52 Žujović. from blacklisted been have to figures political of cases known best the but registered, were “Cominformists” 000 55 than more Yugoslavia, severely were Party the cam concentration to to sent punished, unsuitable militants” “intellectual any and Russophiles the regime, the to threat direct a considered was Stalin of favor in word spoken or written each terror. police rampant and collectivization forced Balkanregion”,characterized by ofany masspurges political(usually enemies pro drastically changing the and brought It persisted. nature, ephemeral of is conflict the that least about and thatthere confusion theconviction been have must consequently, from was the Cominform. CPY expelled Yugoslav the accusing Resolution a adopted Cominform the June of 28th on Kardelj, and Tito with Molotov and Stalin of correspondences and letters of exchange formal a by Preceded grounds. ideological

Stoil, Stoil, Both Hebrang and Žujović (later in 1950, Rade Ž Rade 1950, in (later Žujović and Hebrang Both Goli Otok, a barren, uninhabited island in northern Adriatic Sea, is still a symbol of communist repression, repression, communist of symbol a still is Sea, Adriatic northern in island uninhabited barren, a Otok, Goli Stevan K. Pavlowitch, Pavlowitch, K. Stevan ern ws sceay f h cnrl omte o CY Cnrl omte o Cmuit at of Party Communist of Committee (Central CPY of committee central the of secretary a was Hebrang

h peiu mgeim ewe Ygsas n Saiit socialism Stalinist and Yugoslavs between magnetism previous the , pp. 53 pp. , Balkan Cinema Balkan h lt 14s n ery 90 cntttd i Sols od, a rm eid n the in period grim “a words, Stoil’s in constituted, 1950s early and 1940s late The 1948 In 56

- 54 .

, the split with the Cominform occurred as occurred Cominform the with split the

, 121 , p. of supporting Cominform’s Resolution Cominform’s supporting of

Tito: Yugoslavia’s Great Dictator : A R A Dictator : Great Yugoslavia’s Tito: picture ofYu o ielgcl eitos rm axs ad oils, and, socialism, and Marxism from deviations ideological of s

eared. He was mostwasexecuted. likelyHe eared. ps (for instance on Goli Otok Goli on instance (for ps goslav igić, Stanko Opačić and Dušan Brkić also got excluded from from excluded got also Brkić Dušan and Opačić Stanko igić,

intelligentsia. 29

h at,aeAdia Hebrang Andrija are Party, the - 53 ert prison secret

I , because they opposed sending the letters of the the of letters the sending opposed they because , n the totalitarian environment, in which in environment, totalitarian the n 52 eassessment

vis major vis

the information at disposal, or at at or disposal, the information and labor camp for incarcerating all all incarcerating for camp labor and

54 (

London: London: the breaking of one myth, myth, one of breaking the ), or put to death. In all of all In death. to put or ), , the moment of shock, of moment the , C. Hurst & Company, Company, & Hurst C.

esd o exist, to ceased 55

- and Sreten and Stalinists), Stalinists), CEU eTD Collection 60 59 58 follow) to (morechapter in the Krleža. to close 57 p Ce similarly maintainsas early as 1952: UDBA of basis contradictory the on occurs conflict of stage last the short, In one. new a by replaced be slowly would revolution of concept current The practical immediacy th of undertaking throu Stalinism from defense Stalinist of line the was form familiar widely and old the gained terror of line The pattern. old the of prolongation a actually was orientation This it. of signs any spotting to alertness and skepticism of germs Stalinism than monolith other any of existence the about know yet not did it was, problem The past. ovijest

Marko Ristić was Ristić Marko Lasić, force. police secret veryown Yugoslavia's Administration, Security State Ibid. ntral Committee of CPY to Moscow after their first formal allegations. allegations. formal first their after Moscow to CPY of Committee ntral , , pp.170

( 59 a priori priori a “classic” the with equated be alone let grounds, ideological on fused and unified properly be cannot bureaucra of type Stalinist the of criticism our that understand to need Yugoslavs “The Marxism.” ar cons of subjugation the against fight a is there stat Stalinist the r political but doctrine, one simply not is “Totalitarianism The Sukob na književnoj ljevici 1928 ljevici književnoj na Sukob Zagreb:

and Workers’ Council (two symbols of Stalinist of symbols (two Council Workers’ and – equence of a fight against Marxism, but actually actually but Marxism, against fight a of equence

future of the new revolution was sprouting on the ruins of the Stalinist monolithic Stalinist the of ruins the on sprouting was revolution new the of future - h fih a satrd ad ht eurd h sseai purification systematic the required that and shattered, was faith the 1 71 reactionary anticommunist critique of the Soviet system. Therefore, the burden of shaping the the shaping of burden the Therefore, system. Soviet the of critique anticommunist reactionary Golden marketing, 1999) marketing, Golden 58 .

a Serbian writer writer Serbian a e negation in this in negation e

, or e. (…) (…) e.

how Artistic conformism of conformism Artistic

Ristić and a representative of surrealism, who was in hisinwasat who surrealism, of representative a and - 57 1952 ,

form was not official, but it was considered a matter of of matter a considered was it but official, not was form p.290.

reflected situation onthe

, pp. 52 pp. ,

30 55 the Zhdanovist type is not is type Zhdanovist the tistic thought, and those acts acts those and thought, tistic .

gh methods of cohesion and unity and cohesion of methods gh eality. What is totalitarian is not Marxism but but Marxism not is totalitarian is What eality. social and spiritual structure: files of of files structure: spiritual and social rsl o te ih aant a against fight the of result a - like operations). like :

Dušan Bilandžić, Bilandžić, Dušan imposed in Yugoslavia, where Yugoslavia, in imposed titudes on titudes 60 are by no means the the means no by are

As Marko Ristić Marko As Hrvatska moderna moderna Hrvatska tic tyranny still still tyranny tic art and artists and art

negation of of negation from the the from . The –

CEU eTD Collection 1946. FPRY]. in Cinematography on Situation the on Short Essay 63 62 61 distinctive liberalized state socialist pursuing ownpolitical, its economiccultural and agenda. non a of status the claimed country the Stalin, from break Tito's With 1948. in ope to films.” Soviet fine countryfurnishingour with directedto be should strains our of “all recalled, officials the As available. and attractive simultaneously imbued, instructor, Soviet the of words post immediate the in Union Soviet mod political and economic and values, cultural production, of entirety Film and Political Spheres in Soviets the with Relationship Changing The 2.4. the works current “about realitycontest our which realism create to socialist and methodof ofusing theoryreflection the by but with the Soviets, tendency from negative than rather affirmative coming of was task the However, pressure the against struggle everyday demand to Party

Dimić, Ristić Marko AY F AY nly defy Stalin, the Communist P Communist the Stalin, defy nly - sltd rm h Cmuit b Communist the from Isolated the in reliance and trust of amount incredible an fostered communists Yugoslav The the influenced creation artistic of use social the theCominform, with conflict the After future.” our but usand carry accusations and criticism 180 Komitet za vladu kinematografije FNRJ, F 1, Kratak referat o situaciji u kinematografiji FNRJ. [A [A FNRJ. kinematografiji u situaciji o referat Kratak 1, F FNRJ, kinematografije vladu za Komitet 180 Agitprop kultura Agitprop

system of socialism socialism of system , Politička Književnost. Za o Za Književnost. Politička

, pp. pp. , 244 61

245

. on based a serious moral weight because they are determining not only our enemy enemy our only not determining are they because weight moral serious a

to vu Jugoslaviju, 1944 Jugoslaviju, vu - rae h “r fr h masses” the for “art the create war years. In the sphere of culture, th culture, of sphere the In years. war art o, uolvas omnss eie t cet a create to decided communists Yugoslavia's loc,

y of Yugoslavia was expelled from the Cominform the from expelled was Yugoslavia of y h Ma the 31

s allother forces.” rxist - 1958

- eiit aaim of paradigm Leninist , (Zagreb: Naprijed, (Zagreb: Naprijed, 63 62 –

However, as Tito beganTito asHowever, -

not to depict the clash the depict to not els emerging from the the from emerging els heavily ideologically ideologically heavily 1958 e aim was aim e h Cominform. the

cnmc self economic ) , p. 164 - aligned and and aligned

. , in the in ,

- CEU eTD Collection 67 66 3. Art. p. Cultureand for Committee To information. for Section Affairs, 65 64 understanding of a ways policy cultural and ideas new suggested they where 1949, December in CPY of Committee Central the of Plenum Third the at occurred shift radical The 1949. to 1945 from cine Yugoslav of lack the of Because USSR. the to respect with position economic lower the for compensate responsibility.” communist international their of d the to point to right the themselves give even or down turn can they advice whose advisors as professionals Soviet considering in lied side Yugoslav the from mistake “the mentions, Bilandžić As initiatives. and suggestions their at Yugoslavswere the then influence.Even importantly,spread more but, projects Yugoslav assist and Yugoslavia, in work to come would professionals and staff 1949. of spring the in zero to reduced were Russophi and communists intellectuals, famous many by 1945 in Belgrade in established was which USSR, the with Yugoslavia of Cooperation Cultural for Society the of activities bu Davičo,Oskar by play the them send to Yugoslavs the with pleaded ambassadors Soviet the and Family], called [NOB] Struggle Liberation National Yugoslav the from ballet Yu to connected USSR the autonomy. of amount considerable a decision as acted councils workers' the which by management 1950 o replacement in gradual initiated the were including reforms Economic decentralization. political and management

Bilandžić, Bilandžić, Miloradović, Crnobrnja, Mihailo AY F AY - 314 Komitet za kulturu i umetnost vlade FNRJ, File( 3 File( FNRJ, vlade umetnost i kulturu za Komitet 314 Hrvatska moderna p moderna Hrvatska Lepota pod n pod Lepota - product nd socialist policy in general. And as the final chapter will show, a paradigm paradigm a show, will chapter final the as And general. in policy socialist nd t later that year,culturally these all that later t The Yugoslav Drama The

ion adzorom

and its its and the prepared Moscow in Theatre Bolshoi 1948, in earlier goslavia ovijest

, p. 3 p. , , p. 153 p. , post .

64 ( Quebec City: Quebec

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a eooi wanse, oit iea prevailed cinema Soviet weaknesses, economic war eformations within the USSR, convinced it is a part part a is it convinced USSR, the within eformations 66 32

Before the conflict, a large number of Soviet Soviet of number large a conflict, the Before

67 McGill

However, the Yugoslavs always needed to needed always Yugoslavs the However, - friendly relations would relations friendly - 11), January 5 January 11), - Queen’s Press Press Queen’s

- making bodies and were given were and bodies making th , 1948, The Ministry of Foreign Foreign of Ministry The 1948, , -

MQUP, 1996) MQUP, times reluctant to accept reluctantto times en porodica Jedna

be ceasedbe , p. 72 , .

. 65

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CEU eTD Collection “Tito massescheering the 70 69 68 Axis the against rising the that 1) perspective: Soviet the from points political elemental three in created film the for script the Namely, circumstances. those in aspect political its with pleased means no by were communists Yugoslav the because anymore, mentioned eagerly not was regimes B in neighborhood wealthiest of production of two the Throughout popularity. tremendous enjoyed soil Yugoslav on production pa “right” the from deviation the preventing of need the on cinematographyYugoslav of control and interference their justified cooperationevaluations afterIn ofthe film priorgeneral, workers same toand the Soviet split. Jugoslavije planinama in Yugoslavia, and USSR the between cooperation cinematographic shifts. confusio of state chaotic the in up caught were people simultaneously model. Soviet the toward inclinations for institutions necessity the suggested and stressed and members Party same the leaders, Party the among made about decision the although culture: of field the in situation absurd its and order, international the in Yugoslavia of position degr a to was which stopped, had production. domestic and West the from import the with for compensated films Soviet of import the 1949, of course the In ones. cultural on than fluxes political such on heavily more depended production film in shift

Miloradović, Miloradović, Dimić, The film ends with a victorious parade of the Soviet and Yugoslav armies with the flags of both countries and and countries both of flags the with armies Yugoslav and Soviet the of parade victorious a with ends film The

Let us now observe this transition from one specific angle, in the case of of case the in angle, specific one from transition this observe now us Let Agitprop kultura Agitprop the midst of the celebration of the Soviet the of celebration the of midst the Lepota pod nadzorom pod Lepota planinama U

- , pp. pp. , 184 Stalin! Moscow Stalin! I te onan o Yugoslavia] of Mountains the [In -

188 elgrade. As friends turned enemies, this debut film of the two the of film debut this enemies, turned friends As elgrade. , p. 242 p. , te wr ee poie with provided even were they , .

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(1946), while considering the the considering while (1946),

a residence in Dedinje, the the Dedinje, in residence a the turn to the West was West the to turn the Abram Abram ” , frequently led to the the to led frequently , 68

However, the newthe However, 70 Room’s film Room’s 69

was found on found was

Hence, many Hence, - year period period year ee U CEU eTD Collection Beograd, Srbije centar Filmski 75 74 in theirparticipation to 73 politica film.Miloradović, Room’s about discussion imposed and purification ideological to subjected isolation of under conditions actually, were they but Miločer, resort summer Adriatic the to “vacation” a on sent were they USSR, the 72 71 from were films 1941,45official only 1918to them (but four made were of entirely saved). span time the in that mentions Kosanović Kingdom, the for memory old the keep to want Although whereas film, feature domestic “first” the as mentioned, Slavica pe the without made been have could film.” own our started and team Soviet the on working started I spite, NOB. Jugoslavije planinama U “ place: first the in film that of creation the for motives of director the Afrić, Vjekoslav light. negative purely a in film Room’s on reflected later project film mutual mentioned the in participated who loyalty andthe toTito Party. USSR. 3 and war; the in success the for role decisive a played peasants the of participation the that 2) Yugoslavia; i the with April in not attacked, was USSR the when 1941 July in occurred forces Whe this. supports particular in case One Miloradović, Miloradović, Volk, The name “Narodno name The ea Kosanović Dejan 73 71 Istorija jugoslovenskog f jugoslovenskog Istorija Furthermore, as the film was officially cast aside as a failure, Yugoslav filmmakers Yugoslav failure, a as aside cast officially was film the as Furthermore,

This Stalinist method in delivering our reality stron reality our delivering in method Stalinist This a te an esn h ti fl ws o ol apoe, u ltr fe gladly often later but approved, only not was film this why reason main the was

Not surprisingly, after 1948, the film obtained after thefilm obtained Not surprisingly, 1948, Slavica Le ) that the victory of Yugoslav P Yugoslav of victory the that ) pota pod n pod pota , i ieaorfj i im Kajvn SSKajvn Jugoslaviji : SHS/Kraljevini Kraljevini u film i Kinematografija - s given this status of the “first” expectedly, since the new regime did not did regime new the since expectedly, “first” the of status this given s the Second World War. World Second the oslobodilački rat/ borba” borba” rat/ oslobodilački

adzorom 2011 , we were not pleased with the manner of interpretation of our our of interpretation of manner the with pleased not were we , Slavica ilma 72

)

, p. 126 , , pp. 136 pp. , , p. 188 p. ,

(…) and this mood did not abandon me even when we left left we when even me abandon not did mood this and (…) n the generals returned to Yugoslavia in 1948, after their education in in education their after 1948, in Yugoslavia to returned generals the n - . 127

rmission of the Party. However, this political aspect of aspect political this However, Party. the of rmission -

138 . –

. NOB or War of Liberation reflects how the Partisans referred referred Partisans the how reflects Liberation of War or NOB

Lepota pod nadzorom pod Lepota Afrić omitted that, omitted Afrić 34 artisans came only because of the help from the from help the of because only came artisans

Slavica a negative function During the whole period whole the During U planinama planinama U gly offended us. So, simply out of out simply So, us. offended gly l testing through, among the rest, the the rest, the among through, testing l , (1947), publicly (1947),

p. p. 253.

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(Beograd: (Beograd: 75

CEU eTD Collection withof the question 1948 79 ways. many the in soil to attached remained the country ofindustrialization, propagation 19 in % 67 around constituting population the of part as vital and were NOB general, in the they, in Partisans were peasants the of most that fact the to due villages for education into investments 78 77 literary on work 76 and elite, intellectual the contained Party the because period prewar and press. villages, of questions the of charge in were life. cultural in apoliticism and idealessness prevent to attempt the of part propaganda.” and agitation for used be should amounts larger in gather people where Borba general in culture and publishing departments separate through agitation newsp of sections cultural and journals literary theaters, and films villages, and towns in life cultural of organization repertoire, their and choirs, groups, drama universities, of work the including Đil Milovan with propaganda, and agitation of (department Agitprop the of work policy. increased by cultural followed was to planning Tighter related were which of many issues, political practical and theoretical 2.5. The Mechanisms of Film Censorship

Dimić, 5 February filmova,File5, pregled za komisija Savezna AYF 147, AY F 507, Arhiv CK SKJ, CK Arhiv 507, F AY The Party and Agitprop often aimed at the the at aimed often Agitprop and Party The apers. From the formal record of the Agitprop meeting in 1948, in a discussion over over discussion a in 1948, in meeting Agitprop the of record formal the From apers. Te Battle] [The h itrs o aipos n ielge i “hig in ideologues and agitprops of interest The The Agitprop kultura Agitprop 79

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organization of Agitprop”. of organization , p. p. 30,

(VIII) K (VIII) .

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o te atr o cutyie fr rs, schools, press, for countryside, of matters the for

78 35

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Dimić, Lukić

, Film censorship was established as one of the first offices after the liberation of of liberation the after offices first the of one as established was censorship Film Also h feun rvsos an revisions frequent the Contemporary Yugoslav Literature Yugoslav Contemporary Agitprop kultura Agitprop ro o cnosi we tee a n bbigah o Ygsa ltrtr fr the for literature Yugoslav of bibliography no was there when censorship of eriod ns. -

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lmova [A Story a Story [A Te ere n h Cnosi of Censorship the on Decree [The bout the Factory] the bout - Film], Film], eserve ideological ideological eserve - 1997 86

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Škrabalo, Škrabalo, AYF 507 re about an excessively devout P devout excessively an about re Although official censorship was introduced as early as the formation of the state of state the of formation the as early as introduced was censorship official Although major two into categorized be could Yugoslavia in censorship film for criteria The 101 godina filma u 1896 u Hrvatskoj filma godina 101 VIII) , Ideološka komisija CK SKJ, File CKSKJ, komisija Ideološka , o himself appointed the members already attributes enough significance to significance enough attributes already members the appointed himself o

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The meaning of the expression: casting by the wayside, storing in underground storage rooms. storage underground storing wayside, in the by casting meaningexpression: ofthe The Floi bneu Šo u a duoi rnl d geao” uanih, cesd pi 21 April accessed jutarnji.hr, gledamo,” da branili drugovi nam su Što bunkeru: u “Filmovi “Nacional otkrio otkrio “Nacional b film, forbidden a of example other The 92

sion was not actually formal prohibition, but what was known under a Croatian Croatian a under known was what but prohibition, formal actually not was sion

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th st , 2014, 2014, , , 2014, 2014, , - fated CEU eTD Collection channel propaganda 93 film controlling in production. share Party’s the by caused forms, art different between unevenness lif artistic in heterogeneity the displays chapter this in analysis Finally,the Conflict. the in laterdirection the determined largedegree, a to which, Writers Yugoslav the of Union the of Congresses the in condensed points turning Đilas Milovan ideologue, and of editor realism. socialist in shape take later would that ideas the to time, that at even opposition, of lot a was there that Party the of attitudes hand, other the on and CPY, of critique of group the between opposition fundamental the to point pre purpose, this For period. observed the in taking was figures dominant of inclusion Official and Literary the among Circles: Literary on Conflict the the Left Polemics The 3: Chapter

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one of the founders of founders the of one e under the opening years of the socialist regime and regime socialist the of years opening the under e sis for the phenomenon of phenomenon the for sis Književne sveske Književne 41

their role their

I am also am I and influence on influence and [Literary Volumes] [Literary

Književne sveske, sveske, Književne Pečat

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CEU eTD Collection 97 96 p definite a as realism. socialist considered is which Writers, of Union the of Congress Third the on Ljubljana in speech famous a held Krleža when year the is 1952 surrealism. and literature gat the by marked is year the field artistic the in while broken), is system parliamentary the assassinated, is Radić (Stjepan life political in 95 94 literature. realism, socialist of aspects the from di revolution. in that aware were they since art, as much revolution. the defending of matter that than more was It Party. revolutionary the of totalitarianism or pragmatics, about n was conflict The art. in revolution of function the and revolution the in be should art the versa, vice and reaction; or action of form in either revolution, include concepts aesthetic all that is idea underlying Lasić’s revolution. and art entities: two of synthesis harmonious absolutely the of structure the for basis fundamental 25 the of tectonics complex ljevici bases the provide to supposed t However, un left. literary the on well the to led ultimately, which, interpretations, different caused literature emerged literature

Ibid. Lasić, u “MilovanĐilas Radovčić, Marija This timeframe is chosen by Stanko Lasić. The year 1928 is taken because it represents a certain turning point point turning certain a represents it because taken is 1928 year The Lasić. Stanko by chosen is timeframe This til 1952 til

, 20, p. defending socialist andautonomy realism, against freedom of uti art [Conflict on the literary left] literary the on [Conflict At the end of the 1920s, modeled upon the literature of the USSR, socially engaged engaged socially USSR, the of literature the upon modeled 1920s, the of end the At Sukob na književnoj ljevici 1928 ljevici književnoj na Sukob

, revolution is in desperate need of art. The central question is what the function of function the what is question central The art. of need desperate in is revolution 97 . 95 eqarl et beyond went quarrel he

Yet, it is important to note that they were separating the notion of “revolution” of notion the separating were they that note to important is it Yet, and

concerned the interpretations of philosophical, scientific and artistic issues. artistic and scientific philosophical, of interpretations the concerned 94 n uolva Fo te oet f t apaac, oils realist socialist appearance, its of moment the From Yugoslavia. in

The conflict occurred among the Yugoslav writers in 1928 and lasted lasted and 1928 in writers Yugoslav the among occurred conflict The eig f h left the of hering - year

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To many participants, the revolution was important as important was revolution the participants, many To -

, p. 19 , oriented writers around two literary types of aesthetics: social social aesthetics: of types literary two around writers oriented h lte being latter the

conflict conflict .

revolution. In his boo his In revolution. scussing art it is necessary to talk about about talk to necessary is it art scussing –

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distinguished from socially engaged engaged socially from distinguished a priori a position k Sukob na književnoj na Sukob litarianism, political -

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CEU eTD Collection 98 id the to connect notions These politics. Sealers] [The intelligentsia. liberalizing relationship complex the in point sensitive and important very 3.1. but create “young the of the that emphasized and thriving culture”, proletarian the encouraged Party The Kidrič. Boris by Conference National Pečat with subdued magazine around liberal progressively gathered that intellectuals of group the magazines, supported officially those to opposition an As revolution. the t of service exclusive the to in it placed objected that art of and treatment realism socialist challenged communists the of part when Politics] as t such in magazines exposed official were attitudes These preparation. its of tasks the fulfill to demanded was art activity, revolutionary of elements the of one as art considered and moment historical and

Dim Pečat, Pečat vs. Književne sveske ić, ić, which was confirmed in waswhich The case of gov the Since Agitprop kultura Agitprop

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Pečat

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Književne sveske. sveske. Književne of creativity which ought not to be to not ought which creativity of , Umetnost i politika politika i Umetnost , - Leninism.” between the Party and the the and Party the between – Književne sveske,

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better times to come”, to times better h cnlc arose conflict The called , 98

he Stalinist Stalinist he pečatovci pečatovci At and [Art marks a marks clashed nto the the he CEU eTD Collection 101 1984). Spektar, 100 99 against today runs which chase, “The states: Krleža criticisms, and allegations the to response a As him. at pointed were charges the that knew Krleža him, for and personal organized to due Krleža mentioned an explicitly nowhere Tito if opponent Even Party. militant fierce a as having isolated, himself found again he because Quixote]. Don of Truth and Dream [The Kihota” Don istina i “San essay Pečat Krleža invalidate to attempt not does it because rest the from differs “Dijalekti Krleža’s criticizes openly which Antibarbarus], Dialecticalof goals [War Antibarbarusa” Dijalektičkog sveske Književne sveske, SELF…” its wanted it then all at something wanted non is art tendenciousless persona by conditioned are intensities the because work, artistic of value the for guarantee no were conviction ideological or will free that prove social the toaiming truth, the to faithful and consequent of is which literature, left of dignity the imagining “dignity the defends Antibarbarus] [Dialectical Antibarbarus” and construction”. its stru class (towards artist an of indifference as thing such no is there and (…) creation artistic the to harmful be cannot tendency “the Grosz]: Georg painter German the [About Groszu” Georgu slikaru njemačkom

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Lukić Vlado Mađarević, Mađarević, Vlado , 15. , p. ru, itć a, ln wt Klž, h ms atce ato, rmrl de o h to due primarily author, attacked most the Krleža, with along was, Ristić group,

Krleža’s polemical document which filled a double issue of of issue double a filled which document polemical Krleža’s , hc mre te begi the marked which Contemporary Yugoslav Literature Yugoslav Contemporary

, p. p. 206 , Đls n Krej dcdd o uls Kč’ tx “an ciljevi “Ratni text Koča’s publish to decided Kardelj, and Đilas , Krleža i politika: analitičke rasprave i dokumentarni fragmenti iz Krležinih eseja Krležinih iz fragmenti dokumentarni i rasprave analitičke politika: i Krleža

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ggle and society), because an artist is by default immersed into reality reality into immersed by default is artist an because society), and ggle - existent, “for the Art is not entirely clear what it wants, but if it it if but wants, it what clear entirely not is Art the “for existent,

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l mood. Krleža is positive that idealess or idealess that positive is Krleža mood. l 100

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( Zagreb: Zagreb: is is CEU eTD Collection Pečat. 105 104 103 http://www.pecatmagazin.com/2009/02/49 102 to force, basic central, one of lack “the and opinions, expressing of tone high his for Krleža Serbian the from the cataclysm, War humanity”. World of hopes and values moral First the all of shipwreck the by disintegrated and “disappointed spirit, human of pleaders fruitful old and habits norms, all against rebel a 3.2. (implyin itself reveal to dare pečatovci not does which revision hidden a even or flow, revolutionary of visions (threatening) different the but issues, aesthetic about not is this main Kardelj’s and disciplines, the all of ideal important most single the is truth the that statement Krleža’s in compressed roughly be can existence, human of essence the of understandings my literary works.” and mypersonality against exclusively pointed actuallyare which defamations (…) ridiculous simply all are Trotskyism, spread and intentions, political covert with surrealism and idealism t phrases the while me, at directed is Bogdanov, and Ristić

Mađarević, Mađarević, Lasić, Gligorić was along w along was Gligorić Šo e sao d uoa a jvc, pctaai.o, cesd aur 17 January accessed pecatmagazin.com, ljevici,” na sukoba od ostalo je “Što taining that skepticism is the perennial venom. perennial the is skepticism that taining

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Krležai politika

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ith Radovan Zogović the editor of editor the Zogović Radovan ith

which are irreconcilable and refuting each other by two opposing opposing two by other each refuting and irreconcilable are which

, p. 14 p. ,

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. 105

Umetnost i kritka, kritka, i Umetnost

differs considerably when he reproaches he when considerably differs 103

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The treatment Krleža received Krleža treatment The CPY paper which clashed with clashed which paper CPY g the work of of work the g th , 2014, 2014, , CEU eTD Collection 108 107 106 form his to P neither the join to responding calls comrades’ war, of years four all spent he where silence, solitary from the right reactionaries be as well to as unskillfully, needed and amateurishly it it applying were that who adepts fact left its the from defended in laid art in tendency the of curiosity The art. engaged or immersed deeply is it which in notion the from isolated be cannot literature The life. artistic and social politika” jeste Čovjeka “Usud words: the within contained is theses his of majority the summarizes art. of autonomy absolute against and utilitarianism shallow against left: literary ofcurrentpolitics times. novel the in all final, the reaches work Krleža’s of substratum entire the Mađarević, Kerempuh Petrica of this from ( period dating works literary major his of all and freedom, human of principle general have fallen our of downonthe literaturerotting traditions aesthetics”. in(…) superficial to hammer mighty first “the being traditions, against protest modern the to impetus a gave Krleža that acknowledge does Gligorić However, material”. exposed the all unify

Lasić, Mađarević, Velibor In the pre the In fro two were There de actually Krleža movement, left the within freedom artistic defending By Banquet in Blitva in Banquet Sukob na književnoj ljevici 1928 ljevici književnoj na Sukob [Man’s destiny is politics] destinyis [Man’s Gligorić, Gligorić, –

reality. Krleža was most provoked by the simplistic understandi simplistic the by provoked most was Krleža reality. Krležai politika aqe i Blitva in Banquet - Kritike war time Krle time war

smoie tog rtss gis ay type any against protests strong symbolize ) (Beograd: Jugoslavija, 1926), pp. 39 pp. 1926), Jugoslavija, (Beograd: 107 , , p. 16. p. , On the Edge of Reason of Edge the On

. nt

- artisans, nor to the proposals of Ustasha leader Pavelić to take to Pavelić leader Ustasha of proposals the to nor artisans,

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proclaiming him an inevitable component in humanity’scomponentinevitablein an proclaiming him , p. 55 , .

, The Return of Filip Latinovicz Filip of Return The - 45.

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This was, however, not a sole example of Đilas's shift. During the Conflict on the left, he left, the on Conflict the During shift. Đilas's of example sole a not however, was, This Kln kjg jde ph, jtrj.r acse My 4 May accessed jutarnji.hr, epohe,” jedne knjiga “Kultna Milovan Đilas fe te ofit ih tln ad seily t h b the at especially and Stalin, with conflict the After to elected was who Đilas, Milovan ideologues, Party leading the of One - Party conceptions ofabsolute artistic freedomcreation.”Party conceptions of - ljevici position in the cultural life of NDH (Independent State of Croatia). After the war, the After Croatia). of State (Independent NDH of life cultural the in position --- kultna .

- persona non grata non persona 1952

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110 , pp. 197 , pp.

He published a series of articles in Belgrade’s in articles of series a published He - jedne

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Art became deprived of its autonomy and represented a represented and autonomy its of deprived became Art 51

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principles of Stalinist socialism in general. The overall atmosphere, born out of the the of out born atmosphere, overall The general. in socialism Stalinist of principles th The absolute role model was knocked down when the Yugoslav intellectuals realized realized intellectuals Yugoslav the when down knocked was model role absolute The prese which works the beside Actually,

Književne novine, novine, Književne 2014, http://www.zaprokul.org.rs/Media/Document/CasopisKultura/1183.pdf 2014, teoriju (Beograd: 2009), pp. 121 pp. 2009), (Beograd: teoriju Agitprop kultura Agitprop the

, p. p. 255. Soviet blockade). But it did not autom not did it But blockade). Soviet April, 27th, 1948, Đilas on a plenary meeting of National Assembly of FPRY: FPRY: of Assembly National of meeting plenary a on Đilas 1948, 27th, April,

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and humanism (experience of th of (experience humanism and

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which appeared in 1952 and 1953 to fill the void left by cultural Stalinism. Lukić Stalinism. by cultural left void the fill to 1953 and 1952 appearedin which in 1955 in 142

le of art, but fails to describe a contemporary reality. reality. contemporary a describe to fails but art, of le avičo’s speech in 1949, and Šegedin’s report from 1949, represents one of the the of one represents 1949, from report Šegedin’s and 1949, in speech avičo’s hi attds r smlr o h nw r peoeo, call phenomenon, art new the to similar are attitudes Their

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Desnica did not show propensity for any compromise that couldthat compromise anypropensityfor show not did Desnica Krugovi , Serbian Krugovi. Krugovi. , p. 127 p. , 72 pp. , [The Circles] [The 149 Svedočanstva Svedočanstva [The Circles], 6, 1952. 6, Circles], [The . -

57 fe 15, on modernists young 1952, After .

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Čolić, Čolić, crucial to refer to Soviet socialist realism. In the Yugoslav context as well, in Čolić’s Čolić’s in well, as context Yugoslav the In realism. socialist Soviet to refer to crucial on fe te ra o te USSR the of break the after Soon it 1950s, the of cinema communist European Eastern of studies the approaching When Jugoslovenski ratni f ratni Jugoslovenski

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ilm , p. 168 p. ,

he early stages, despite the Western cultural legacies legacies cultural Western the despite stages, early he - - war years, the socialist realist model that survived survived that model realist socialist the years, war FNRY relations, relations, FNRY 58

Yugoslav communists were prescribing their their prescribing were communists Yugoslav

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CEU eTD Collection Studies Television and Film of New Review 155 WWII. pre the in existent Čáp), (František screen the to pieces 154 blacksocialist realist pathosor did filmmakers the Assumingly, stead. their in introduced were genres other and 1956, and 1950 between Croatia in made were films war no struggles, Partisan glorifying dramas war pompous and naïve with life new its started cinema war of avoidance the was situation new the of symptom obvious manner. were uptight which an adaptations in often classics’ rendered literary of practice the was solution of type academic th as deems Pavicic What itself? reinvent it would how and be to up shape production film would what center, the of clutch ideological and financial firm a facing and upco the in experiments or solutions poetic varied at glanced it template, Soviet the from away step to “obligation” new the facing in chaos of syndrome the suffered production cinema and cultural the against aestheticupheavals taken content ideological its in lag a conditioned which the from center, coming funds on heavily relied still reforms, announced its of spite in industry, mode a as upon look to practice artistic any or from tutorship draw to tradition artistic significant any have not did cinema that was

Yet, in this respect, Yugoslavia was not unique. One might recall the Czech Czech the recall might One unique. not was Yugoslavia respect, this in Yet, Jurica Pavicic, “‘Lemons in S in “‘Lemons Pavicic, Jurica ming period, such as Italian neorealism. With a lack of clear guiding model to look up to up look to model guiding clear of lack a With neorealism.Italian as such period, ming

and polemics portrayed in the second chapter. After 1948, when Yugoslav Yugoslav when After1948, chapter. second the portrayedin polemics and

iberia’: A New Approach to the Study of the Yugoslav Cinema of the 1950s,” 1950s,” the of Cinema Yugoslav the of Study the to Approach New A iberia’:

- and - white characterization.

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n h pcla cs o Cota cnm, h first the cinema, Croatian of case peculiar the In 59 - war period, but also stretching also but period, war

o ko hw o oe ih a wtot a without war with cope to how know not – 39, doi:10.1080/17400300701850590. 39, 155

practice of transposing literature literature transposing of practice topics. Although Croatian Croatian Although topics. well into the period after period the into well e safest and most most and safest e , p. 22 , - 24.

CEU eTD Collection 157 156 L National the borba were [Narodnooslobodilačka to aspired and covered they of memory topics the The and victory. pride national of phenomena social and psychological the on based was it as time, the of controversies aesthetical from away drawing beauty, and art about much American 1960s. and the from westerns adventure of elements with spectacles action war into transforming again dramatized solemnly and heroic didactic, early the from varies genre the Namely, them. between line blurred and thin generally the to confusion add only subtypes into divisions further these and oscillations, background. the deem I as However, forces occupation the about stories with dramas urban or existential as known popularly Yugoslavia P Furthermore, experience. national specific a to pertains context the because also and topics, of variety larger a encompass can wars. in found are survival or birth country’s a of moments key that fact the to owes level official an on genre war the of preference the Furthermore, dimension. manipulative its considering regimes the by favored Partisan Film toRelation and Context in FilmsAntifascist and Revolutionary, War, 4.2. ria fl gne is genre film artisan

This is taken from how the languages of former Yugoslavia pronounce the abbreviation NOB. the abbreviation pronounce formerYugoslavia of languages the how fromis taken This Tadić, Darko The w The ar genre, in Tadić's claims, is most apt for propaganda for apt most is claims, Tadić's in genre, ar Propagandni f Propagandni

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- was not as as not was year - plan, CEU eTD Collection 161 the of curriculum. part filmsas Partisan domestic 160 Girl Guerrilla resistance, (Selander's of countries other film from topics Norweigian the even and Biancoli, Oreste by Nødlanding directed film war 1952 a Feathers], [Black Blasetti's Alessandro like motifs, withPartisan films 159 another had war. the in struggle ofPartisan the role replacing ofcollectivity whichsense sustain the could the projects around also voluntarism, of idea the on based reconstruction, 158 fascists the against led only the context, Yugoslav the in instance, (for purpose and inclinations political mentality, country’s the to according expressed but WWII, after victory celebrating period function the Western andnarratives content ofWWII from combats. b socioeconomic and revolution the of service in being of conception realist socialist the on back falls form art an as film Insofar, parties. origi the about audience regimes, mass the educating at aims film antifascist the in theme antifascist that because films, war of types two the equating in fallible tradition films Partisan and antifascist although However, Hollywo in tendency screen the onto transferred be to theme War World Second the selecting in previous chapters. socialist way idiosyncratic the in reality, (historical) actions, working youth building, road industrialization,

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160 superficially resemble “war films” produced in the West, West, the in produced films” “war resemble superficially

[Emergency Landing], it is even more curious to consider American cases of films with Partisan Partisan with films of cases American consider to curious more even is it Landing], [Emergency or at least inculcate promulgated theofficial init versions ruling by the communist

about the Greek revolutionary revolutionary theGreek about

, 87, p.

d er oinain, s el s n fr ntne Iay r France or Italy instance, for in, as well as orientations, genre od euirte o (ot) atr European Eastern (South) of peculiarities .

–

the NOB had to deal with both external and domestic enemies, domestic and external both with deal to had NOB the La Battaille du rail rail du Battaille La Fighter Attack Fighter communist movement). communist

Un giorno nella vita nella giorno Un

61 with the topic of helpful Italian Partisans, or Christian's Christian's or Partisans, Italian helpful of topic the with etterment. It is, thus, of considerably different different considerably of thus, is, It etterment.

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Liehm al., et Given its political impact, the antifascist film in in film antifascist the impact, political its Given by Yuri Raizman andby Raizman Yuri When the film production in Yugoslavia started, its crowning topic, the unique unique the topic, crowning its started, Yugoslavia in production film the When ous reminiscences. The immediacy of the experience and the perceived function of of function perceived the and experience the of immediacy The reminiscences. ous

and dealt with this topic by exposing the individuals who were indifferent to the wartime political political wartime the to indifferent were who individuals the exposing by topic this with dealt and The Most Important Art: Soviet and East European Film After 1945 After Film East and European Soviet Art: Most Important The 162 , to Aleks to

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Film Review Film

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the main character obtains the flaws and contradictions of human nature, and, and, nature, human of contradictions and flaws the obtains character main the e kei e sine se okreći Ne 167 Ne okreći se sine se okreći Ne

as the Prototype of Heroic Romanticism in the Administrative Administrative the in Romanticism Heroic of Prototype the as first Slavica . -

ad eot o, o isac, war instance, for on, reports hand Directed by Vjekoslav Vjekoslav by Directed , p. p. 220 , ic content, and with anxious uncertainty and doubt, while doubt, and uncertainty anxious with and content, ic putting together the recovered material/footage. the recovered together putting with pride and bravery, and pride with .

h cent the [Don’t [Don’t ral figure, though not suffering from a dilemma, is a a is dilemma, a from suffering not though figure, ral Turn Around Turn Afrić (1906 Afrić 64

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Braslav Borozan, „U spomen drugu„U spomen Borozan, Braslav Slavica To illustrate this, it might be, for the moment, sufficient just to add that in the next decade, there was an an was there decade, next the in that add to just sufficient moment, the for be, might it this, illustrate To The plot of this film between historical spectacle and melodramatic romance, covers covers romance, melodramatic and spectacle historical between film this of plot The eae uh cneprr pt f h rgm ad audience and regime the of pet contemporary a such became attracted almost 2 000 000 viewers from all republics of Yugoslavia. Yugoslavia. of republics all from viewers 000 000 2 almost attracted s (making the production of the film appear more like a appearlike more film the of production(making the s

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reconditions and professional cadres, Afrić managed to to managed Afrić cadres, professional and reconditions from the camera and film tape, script and direction, to to direction, and script tape, film and camera the from t a classic example and role model of discipline and discipline of model role and example classic a t

Borba , , July30

the Dalmatian people in the Partisan the in people Dalmatian the th , 1980. , 170 Goulding, Goulding,

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Goulding, Goulding, The film embodied numerous characteristics of so of characteristics numerous embodied film The –

Slavica, Marin, their families and fellow Partisans as positive characters, while the the while characters, positive as Partisans fellow and families their Marin, Slavica, Liberated Cinema Liberated sted asofitsrepetitive part formulaic traits.

win by miraculously managing to sink a German armed ship. This is preceded is This ship. armed German a sink to managing miraculously by win hough the figure himself does not appear in any explicit form, only by word word by only form, explicit any in appear not does himself figure the hough

172

, p. 17 p. ,

types of a nation or prescriptions of how the nation, and and nation, the how of prescriptions or nation a of types ted to tragically resolving individual fates individual ted totragicallyresolving 66

–

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a heroic death heroicdeath a black and and black e CEU eTD Collection f art became the film liberation, Afterthe agitation. for tool strong a as perceived was which theatre, the towards itsdetermination 175 174 20. p. 88/89): 173 Liberation. National of Theatre the of organizers the of one became he where Zagreb, from joined he point which at War World Second the by interrupted dynamic was life His acting theatre. a in actor an was and arts, fine studied he direction, film to himself criticiz the sideof thePartisans. on fighting women many were there since element, authentic an was this films, II War World protagonist abi and depicting equality”. sexual upon built society classless a reflects leadershipofallure whichpromised parttheNewYugoslavia Communist oftheunder “Id duty”. of “honor their serving guns with heroines as portrayed dancing songs, heroic singing and Partisans rituals as Partisan such of traditions, peculiarities the but region, Dalmatian the of dialect and culture post first the became boats] Tito’s from singing are sailors [The lađa” Titovih s mornari “Pjevaju lines marching extolled was pan expresses film the although hand, other the On enthusiasm. high of sense the by accompanied war!“, the entered “Russia as such exclamations the instance, s carries film The martyrdom. heroic Slavica’s of regardless undertones, optimistic fairly with melodrama Partisan mellow

Stoil, Stoil, Film,“ Partisan Fall ofthe Yugoslav Rise„The and AndrewHorton, By founding the Theatre of National Liberation in the war conditions, the new government clearly expressed expressed clearly government new the conditions, war the in Liberation National of Theatre the founding By ed, it is worthwhile to consider Vjekoslav Afrić’s background and life. Before devoting Afrić’s life. background Before and devoting Vjekoslav ed, isworthwhiletoconsider it In analyzing the reasons why reasons the analyzing In and honest charming, a as considered was film the appeared, it time the at However, Balkan Cinem Balkan

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- war hit, or or hit, war 174 .

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CEU eTD Collection 178 177 176 films later his reports, Raspor as audience, of taste very the of the yearsin refinements possible the to pointing later, the And cinematography. Yugoslav of formation in improvisation and enthusiasm wide of result a as projects such tolerate could Slavica viewed who people beginning, the at that, be might It naivety? of result a as precisely or naivety, despite it Was ask: could one experienced, film the success wide and close his fellow. fighter Partisan a of tragedy personal a describes which Kovačić, Goran Ivan by [Pit] “Jama“ poem the of sample remaining only the saving is hero a as visage public his to attributing spirit Mar socialist the with saturated art the for search the about informed already were way, a Slavica film.” first our filming were we stage the at me fulfilling were Partisan a was I when had I thoughts “same statement: following his consider art Yugoslav “real a as status his from as well as line, Party the with eligibility and commitment the from came it likely, most since, talent, his from exclusively came received he acclamation the that doubt the for reasons the justifies possibly country, the award Liberation] National Yugoslav of Council Partisan. former importantly) revolution and filmmaker prominent a features: identity of pair inextricable an of form a in him to refers frequently time the of discourse public The

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Slavice,” Politika Slavice,”

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176

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Borba May3 Hoja! Lero! Lero! Hoja! , September1 , 68 rd Politika 177 , 1997. ,

initial positive feedback. One can justifiably justifiably can One feedback. positive initial

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the greatest artistic acknowledgement in acknowledgement artistic greatest the

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team of team - fascist CEU eTD Collection Lessons the and Films Art Six First Our from Experience [The rad“ dalji za pouke i filmova umetničkih prvih naših šest stereotypes. and formulas repetitive in resulted and out dried had NOB of theme the 183 filmskeslike, Ideologija 182 181 180 brutally by 179 accompanied times at dramas, war psychological realistic and intimate more and scenes pompous with period first the of epics Idealized forefront. re the through realism of styles new topics, and genres the of scope the of expansion the with Along works. literary of adaptations an films, animated satires, social comedy, thriller, drama, contemporary as such genres, suffer. to began soon context imports 4.3.2. egalitarianism, multi secularand P of portrayal Land Our On fearfor were culture theYugoslav paper communist official path the not is pattern. and that outgrown have audience to seemed criticism the elements), kitsch of clusters with project film dilettante a for synonym

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for Further Work], in Work], Further for The Sun is Far AwayFar is Sun The fe 15, h stain n uolva a cagn i acrac wt foreign with accordance in changing was Yugoslavia in situation the 1953, After Slavica and internal reforms and, consequently, the Zhdanovist formula in the Yugoslav Yugoslav the in formula Zhdanovist the consequently, and, reforms internal and Između publike i države publike Između reveal class, gender as well as martyrological patterns in the triumphalist triumphalist the in patterns martyrological as well as gender class, reveal rias n dpcin f rfre v preferred of depiction and artisans Riječ o filmu o Riječ

as well as its generation films like films generation its as well as ieaorpy hud follow. should cinematography although the author places the war films from the later period in the focus of analysis. focusin the of period later from filmsthe war the places author the although

Film, Film,

Borba (Beograd: Institut za film, Institut za (Beograd:

br. 1 br. 183 , pp. 169 159, pp. , and Novaković’s Wriggle into Deromantization into Wriggle Novaković’s and -

[The Battle] for elements of authenticity, its weaknesses and and weaknesses its authenticity, of elements for Battle] [The ethnic culture. eea Ygsa suis tre t eprmn wt other with experiment to started studios Yugoslav Several - 2, equally emphasized. equally

1949, p. p. 1949, 3 - xlrto o te a eprec so cm t the to came soon experience war the of exploration .

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1952), p. 88. 1952), 179

calls for the new genres and and genres new the for calls

This Nation Will Live, Immortal Youth, Youth, Immortal Live, Will Nation This Other off Other Although Eli Finci praised praised Finci Eli Although s discussed in more detail in Nemanja Zvijer's Zvijer's Nemanja in detail more in discussed s le i fls fr ntne socialism, instance, for films, in alues 181

icial critics were were critics icial

Jovan Popović, Jovan Film. Film. speeches gave way to to way gave speeches perspectives stating that that stating perspectives 1 - 2, 1949, pp. 50 pp. 1949, 2, s tating that this that tating Slavica

“Iskustva iz iz “Iskustva

heroic n an in

- 58.

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CEU eTD Collection 185 184 up an possessed film the audience, and critics the by assessment general the to According Kulundžić. Josip by written script the with Novaković Radoš director film the by undertaking interesting an fromdiscussions the Conflict onthe literary left. the of result partial as and circles, literary the from surprisingly, not came, life new of juice“ am delivered be hardly could impulse this Since erupt. eventually to doomed was surface, the under boiling was which treatment, characters’ in exception, insight psychological deeper the However, without force. progressive unshakable and almost orientation shaped, been had clea of film units monolithic as realized and imagined unidimensionally, war Yugoslav of characters the fundamental. not were innovations film those Yet, clichés. and hero, a of autonomy youth, the of treatmentdeliberate more a with out war, on drama synthetic rather provides which are model this to exceptional Somewhat forms. expressive black dramaturgy, viewpoints, and spirit was film one only that seeming of extent the to other each resemble films 11 the all Away], Far is Bulajić.Vladimir Pogačić and Veljko Novako Radoš by follow, to films the in dimension humane war. of scenes naturalistic

Čolić, Čolić, Goulding,

shot. Although capturing different stories, characters and settings, they bore the same same the bore they settings, and characters stories, different capturing Although shot. In 1953, the screen adaptation of Dobrica Ćosić's novel Ćosić's Dobrica of adaptation screen the 1953, In from deviations, few a with that maintains Čolić Jugoslovenski ratni f ratni Jugoslovenski Liberated Cinema Liberated - until

- that ilm , p. 49 p. , 184 - ia a jača sam Bila on uiu freshne unique point , p. 349 p. ,

The revolutionary past in the films acquired a more tragic and tragic more a acquired films the in past revolutionary The .

- 350 .

I a Srne] ih attemp with Stronger] Was [I - white techniques in characters' treatment, and and treatment, characters' in techniques white 70 Besmrtna mladost Besmrtna

s oiiaiy tuhuns, rxmt, and proximity, truthfulness, originality, ss, ong the hired, official cineastes, the “fresh “fresh the cineastes, official hired, the ong Dečak Mita Dečak Slavica 185 vić, Branko Bauer, Franc Štiglic, Franc Bauer, Branko vić, Na svojoj zemlji svojoj Na

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e Sun is Far Away Far is Sun e [Immortal Youth] standing Youth] [Immortal Daleko je sunce sunce je Daleko r and determined national determined and r Slavica s o vi motive avoid to ts in 1947, to 1953, to 1947, in

[On O [On [The Sun Sun [The ur Land] ur presents CEU eTD Collection 187 186 is life...This my ask for he then even but want..“, I squadron, what know my revolution...I for responsibility full take “I uncertainties: rationalization.” a possibi and of wishes result between disproportions the “logical as as but weakness, appear not does dilemma the that is noted be to needs what However, not?“ or stake, at everything with circumstances all under fight to pointless it “Is himself: is film the of protagonist the that question the in condensed squadron, the disband to or leave to protagonists, the from decisions difficult demands which drama psychological tr heroic its from integrally, more NOB the viewing at attempt the is film the of idea basic The it. experiences everyone while trial, order the to subjugation the on insists situation, the of delicateness the despite Pavle, commissar b would people the because that to objects Gvozden peasant the but Jastrebac, leave to decides squadron The the enemies. escape the to of pursuit how on opinions different have each Uča and Pavle Gvozden, authorities, cut and Isolated forces. German by outnumbered ideals adown with first the for where, film a is This illusions. personal or divisions, positive/negative terms, established prejudices, all of burden the of deprived revolution, and war from events the approaching in simplicity

Ranko Munitić, Munitić, Ranko Volk and decision of the P the of decision and , In 1941, a small Partisan squadron is chased across the mountain Jastrebac, strongly strongly Jastrebac, mountain the across chased is squadron Partisan small a 1941, In Istorija jugoslovenskog f jugoslovenskog Istorija aits and roles in the war. On the contrary, the film contains poeticized humane humane poeticized contains film the contrary, the On war. the in roles and aits darker

Živjet će ovaj n ovaj će Živjet 187 aspect, touching the core of man's flawed nature, and not merely exposing exposing merely not and nature, flawed man's of core the touching aspect,

to t rss n oiia cmisr al wo s o hdn hs obs and doubts his hiding not is who Pavle commissar political in arises It time, Yugoslav cinematography witnesses the confrontations of elevated of confrontations the witnesses cinematography Yugoslav time,

- earth struggle survival.earth for , especially the commissar, is aware of the tragedy and deeply deeply and tragedy the of aware is commissar, the especially , arty headquarters. Gvozden is consequently executed after a quick a after executed consequently is Gvozden headquarters. arty ilma arod:

, pp. 149 pp.

Jugoslavenski film o r film o Jugoslavenski - 150. e exposed to the mercilessness of Germans. of mercilessness the to exposed e

evoluciji f fo te ihr at ad military and Party higher the from off s himself a question revealing internal internal revealing question a himself s

( Zagreb: RKSoh lities, initial drives and drives initial lities, , 1974). , , 20, p. - 21 186 asking .

The CEU eTD Collection 189 2007). Prosveta, (Beograd: 188 his evocations are s but war, that in participated also he that fact the to owes films his of core the at motif NOB the Surely, heroism. of idealism and rhetoric usual the to himself subdue not does he films Novaković’s although why, is This ideology. applied just was film that belief the accept not simply could who figure, independent obstinately and majori the unlike was, Novaković Čolić, and to according Yet, themes. contents ephemeral and recent quite of affirmation the into talent and knowledge his all invest would he that expect could one received, he trust official the and influence his on and Norwegians, with coproduction Davičo), by written was script the which activities, award Government Federal the received Comrades] Fallen our to Monument war first Yugoslav the filmed founded He Yugoslavia. New of film documentary first the theater modern of trends magazine post first Yugoslavia’s of editor main Film and the essayist film at translator, professor critic, a a was Academy, He projects. film before theatre the to devoted also was he your andI own am“Who abilities?“ diesby fault?“ ifmysquadron yourself overestimate you “Do right?“, be to believe you do what of basis the “On conflict:

Volk Čolić, Čolić, , Radoš Novaković (1915 Novaković Radoš Istorija jugoslovenskog f jugoslovenskog Istorija Jugoslovenski ratni ratni Jugoslovenski Film , and one of the founders and the the and founders the of one and , till deeper andtill more illustrative. presented an attempt to get rid of the film stereotypes (indicatively enough, (indicatively stereotypes film the of rid get to attempt an presented 189

He was determined in rejecting every superficiality and conventionality. and superficiality every rejecting in determined was He

In 1943 starts his continual work with a camera with which he shot shot he which with camera a with work continual his starts 1943 In film ilma p 40 p. ,

newsreel, - , p. 148 p. , 1979) made seven documentaries seven made 1979) - 41 , Pesma s Kumbare s Pesma . in 1944. His first artistic film was was film artistic first His 1944. in

; rai put/Blodveien Krvavi Milutin Čolić, Čolić, Milutin Otkrivanje spomenika palim borcima palim spomenika Otkrivanje

are said to evoke the glory and pain of the warriors, the of pain and glory the evoke to said are , olwd by followed 72

first director of Atelje 212, which pursued which 212, Atelje of director first imk prrt: d aaia o Makavejeva do Manakija Od portreti: Filmski

[The Song from Kumbara] from Song [The ea Mita Dečak Filmske novosti Filmske

Te loy Path] Bloody [The

ty of other directors, a firm firm a directors, other of ty and nine feature films, but films, feature nine and , about illegal Partisan Partisan illegal about ,

Sofka

[Film news], [Film

[Revealing the [Revealing , for which he he which for ,

. 188 ae in made

Based -

war war and

CEU eTD Collection 191 190 ci of direction the for development positive consideredpart,a most the for unconvincing(although, over with combined composition mont clumsy pace, from critics The context. the from isolated left being parts its plot, interrupted frequently its of discontinuity dramaturgical the certainly unbalanced, quite film the render that elements P villages, em and static other, the on and Germans, merciless and winter severe t of images impressive revolution, the of pangs the of greatness the hand, one the On style. and rhythm oscillating of issues the with dealing difficulties had have multilayered hardships(andgoal towards ofa there personalized) path of itself. struggle the or combatants, fellow re when revolution, the of man the how shows It events. and people of portrayal its in distinctive avant not is film The terms. creat the how showed also It revolution. and war of considerations subjective more or genre, this of transformation va the film in point turning a represent only not the did film The traits. humanistic the to of interpretations contrast in be to have not do revolution the of values the that show to aims It perspective. broad a of particularization duced to his personal traumas or emotional reactions, can by no means be isolated from his from isolated be means no by can reactions, emotional or traumas personal his to duced

Ibid. Munitić, nematography in general, psychologization is, still not being exercised enough, as it is it as enough, exercised being not still is, psychologization general, in nematography , 351 , p. lhuh aig nme o bekhog ies s ietr Nvkvć emd to seemed Novaković director, as ideas breakthrough of number a having Although the adopts and collectiveness, dominant previously the individualizes film war This Živjet će ovaj n ovaj Živjet će arty meetings, insufficiently expressed characters, speaker's explanations explanations speaker's characters, expressed insufficiently meetings, arty .

age, forced aesthetic perspectives, poor external stylization and and stylization external poor perspectives, aesthetic forced age, v pwr f ietn cn xed h lmtd oms f imperative of dogmas limited the exceed can directing of power ive arod , p. 20 , p.

- ad o etrl useii o te pc, u i sil quite still is but epoch, the of unspecific entirely or garde .

- psychologization to the point of making characters utterly utterly characters making of point the to psychologization 190 Slobodna Dalmacija Slobodna

eahrcly ee te il mgt ml the imply might title the even Metaphorically, 73 u o atetct ad atclr creative particular and authenticity of lue

according to Čolić. to according criticize the film for its slow its for film the criticize 191 he squadron exposed to exposed squadron he

The flaw of the film is film the of flaw The pty images of burned burned of images pty volution. volution.

–

are the are CEU eTD Collection 193 Sunce,” je “Daleko 192 influence onthefuture engraved Yugoslav film dedicated of torevolution. which NOB, the of interpretation artistic the in conflict inner first the is invulnerable dilemma Pavle's monoliths. and resolute, stiff, or symbols obedient depersonalized less become general t constituting and revolution the demythologizing in step first the represents death Gvozden’s comrades. own one’s fighting of expense the at even revolution, towards standpoint own one’s defending of consequence co heroic a not is screen on death the time, first the For novelties. unspotted previously of number a picture the into brought it and way own topics. war the to approach in amoconsiderableasense could one one, this after were made which works the in that stressed unanimously less or more was it template, literary its to up” “live not did that amorphous into sink film soon shapes. the of end the towards but compassion, excite initially moments tragic deeply that seem does chroni a of manner the in squadron the of movements the of hove which atmosphere morose and war of doom of feeling achieved the with accompanied although soon, is which death, Gvozden's of moments the until drama humane only is there claims Čolić opinion. in difference and disagreement selected infamously the as death Gvozden's or speech Pavle's of scene the as exaggerated). deemed

Volk, Volk, c Šaa “imv kj geao Dlk j Sunce,” je Daleko gledamo: koje “Filmovi Štaka, Aco

determines an important turning point in further treatment of the motives, with critical with motives, the of treatment further in point turning important an determines Despite Istorija jugoslovenskog f jugoslovenskog Istorija the criticism concerning its particular qualities and rebukes for creating a film film a creating for rebukes and qualities particular its concerning criticism the Slobodna Dalmacija Slobodna

192

Even the key moments, they claim, are unnatural in expression, such expression, in unnatural are claim, they moments, key the Even ilma

193 , p. 150 p. , he individual, tragic hero of the revolution. The characters in in characters The revolution. the of hero tragic individual, he

, May , 6 Daleko je sunce je Daleko .

th , 1954. , 74

nsequence of the fight with an enemy, but a a but enemy, an with fight the of nsequence

still enjoys a certain status of “first” in its in “first” of status certain a enjoys still Oslobođenje rs over the men, f men, the over rs cle, lacking any dramatic flow. dramatic any lacking cle, August , 18 ollowed by a by ollowed th , 1954; Vojdrag Berčić, Berčić, Vojdrag 1954; ,

unt of elasticityof unt eey for remedy reporting

It CEU eTD Collection 195 http://www.filmski 194 Seagull Blue well first his atmospheregraveyard at where the flower thesonisplacingacross. awooden on the handle to how learning is child the which in scene the are identified have critics the scenes anthological Other forest. the into further and delving further cir driver a without motorcycle the of film) the of detail beautiful most the considers himself director the (which scene memorable a with ends film The shot. gets and enemies their face fathe the after and finds them, soon father, his and boy missing the for pursuit in squadron, German the However, and camp, the from P the hate genuinely br and inculcations fascist to exposed being is he where school boarding Ustasha an to sent is son underage his that and officer, German a of surveillance under is wife his returning Upon camp. concentration a to way its on train prison a from escaping communist a about story a developed skillfully Bauer film, this In festival. film Pula Third the at arena” “Zlatna award the received and Diklić, Arsen by written script o based was film The genre. war the in plunge psychological deep the to close extremely Around Turn [Don’t 4.3.3.

He also worked as editor and TV series director. series TV and workedas editor also He cling around the father’s dead body, while his son is departing towards his uncertain future, his departing towards is son his while body,dead father’s the around cling Bz H knmtgaie Bur rno” filmski Branko,” Bauer kinematografije: HR “Baze Don’t Turn Around, My Son My Around, Turn Don’t Bauer started his film career in 1949 as a documentary filmmaker, documentary a as 1949 in career film his started Bauer film the in dimension new the acquires film revolutionary Yugoslav - ] received features received

in 1953 and and 1953 in - programi.hr/baza_redatelj.php?id=82. artisans. With a help help a With artisans.

M Sn, y rain ietr rno ae (1921 Bauer Branko director Croatian by Son], My , ec te otc wt nab P nearby with contact the reach r tells his son to run to the forest without looking back, he goes to goes he back, looking without forest the to run to son his tells r Milioni na otoku na Milioni

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A Carrier on the Turn of Stylistic Periods ofStylistic theon Turn Carrier A 101 godina filma u 1896 u Hrvatskoj filma godina 101 Liberated Cinema Liberated 201

This is a result of the changing currents in style, which affected many affected which style, in currents changing the of result a is This - carried, but that the son’s role and other characters are somewhat somewhat are characters other and role son’s the that but carried, , pp. 53 pp. , oe imy epcal i te ra f atr im, n hs new this in film”, “auter of area the in especially firmly, more

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, pp. 230 pp. ,

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Nemanja Zvijer is referring to the war films produced in that period exclusively as spectacles. spectacles. as exclusively period that in produced films war the to referring is Zvijer Nemanja n h yas olwn m piay cp o iqiy te a fl ad h Partisan the and film war the inquiry, of scope primary my following years the In Kozara 202

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(1962) by Veljko Bulajić, or Bulajić, Veljko by (1962)

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Bulajić’s ore the emergence of these other lines, there was a period of period a was there lines, other these of emergence the ore Bitka na Neretv na Bitka 78 Desant na Drvar na Desant

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(1963) by Fadil Hadžić, or the or Hadžić, Fadil by(1963) - 1955), notable achievements notable 1955), coe h ei war epic the chose e KapetanLeši

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CEU eTD Collection 203 illusions, as hopes and dreams colored gloomy with Babaja, Ante are cases Other ethics. war general on perspectives about War in instance, For personal”. and „intimate revolution a premonition, with adifference pessimistic the “rational“ from shifts thatit to 1941 occupationdepicting setting, and savagery absurdity inaunique manner. is line this of Nazi between or war, in defense and offense between differentiate even not does Popović war, of inhumanity the of interpretations in instance, For NOB. of humanity g a are films the Primarily, pessimism. becomes anti the becomes hero the antipode: its acquiring everything bymarked Čolić, to according is, 1960s the of end the general, in However, norm. existing every obliterate and of victim a is man exterminated and negated be to a need all which dogmas, and that fanaticism polemical conviction their and theory With the 1971. demonstrate from they Čengić characteristics, ‘Bato’ Bahrudin by Revolution] World the 1969 from Pavlović Čovjek izhrastove šume t through represented be can deromantization, Black movement. Wave] of influxes of effect the be might This studios.

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. Zagreb:Spektar, 1984. Tito: Yugoslavia’s Great Dictator : A Reassessment A Dictator : Great Yugoslavia’s Tito: . Zagreb:NZGlobus, 1998. e Rve o Fl ad eeiin St Television and Film of Review New .

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[A Story about the Factory]. Directed by Vladimir Pogačić. Beograd: Zvezda Beograd: Pogačić. Vladimir by Directed Factory]. the about Story [A [The Silent Barricade]. Directed by Otoka by Directed Barricade]. Silent [The

. [Millions on the Island]. Directed by Branko Bauer. Zagreb: Jadran Film, Jadran Zagreb: Bauer. Branko by Directed Island]. the on [Millions [Don’

[The Secret of Castle I.B.]. Castle of Secret [The

[The Song from Song [The

. DirectedBranko Zagreb: Bauer. byFilm, 1959. Jadran Ocpto i 2 Pcue] Drce b Lra Zfaoi. Zagreb: Zafranović. Lordan by Directed Pictures]. 26 in [Occupation Te oce' Wr] Drce b Mri Fi. ýoa ČSR, Výroba: Frič. Martin by Directed Ward]. Poacher's [The Uvnuse City]. [Unvanquished t -

First]. Directed by Grigori Chukhrai. DirectedFirst]. Grigori by Turn Around Turn Leonard Buczkowski. Warsaw: Film Polski, Leonard Warsaw:Buczkowski. Film Polski, 1949.

1948

. Directed by ArneSkouen. Kumbara]. Directed by Radoš Novaković. Beograd: Avala Avala Beograd: Novaković. Radoš by Directed Kumbara]. Petrović. Beograd: Avala Film, Beograd: Avala1965. Petrović. .

, My Son]. Directed by Branko Bauer. Zagreb: Jadran Jadran Zagreb: Bauer. Branko by Directed Son]. My , 91

Directed by Milan Katić. Zagreb: Jadran Film, Jadran Zagreb: Katić. Milan by Directed ietd y ez Zarzycki. Jerzy by Directed

á Bærum Moscow: Mosfilm, 1956. Mosfilm, Moscow: vra. Praha: Praha: vra.

ow: Mosfilm, 1945. ow: Mosfilm, : Norsk Film, 1952. : Norsk

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asw Film Warsaw: 1952

CEU eTD Collection narod ovaj će Živjet Zaseda Piosenki Zakazane Veliki Un giornonellavita revoluciji svjetskoj u porodicemoje Uloga graniczna Ulica U planinamaJugoslavije bor zelen raste gori U

Film, 1947. 1947. Polski, 1945. Directed 1971. BatoBosna Sarajevo:Film, by Čengić. Filmów Abram 1946. Eduard Tise. Room, Moscow: Mosfilm, Jadran Film, 1971.

perelom [Ambush]

, 1949.

[The Great Turning Point]. Directed by Fridrikh Ermler. Moscow: Mosfilm, Mosfilm, Moscow: Ermler. Fridrikh by Directed Point]. Turning Great [The

. Directed byŽivojin Pavlović. Te odr tet. ietd y lkadr Ford. Aleksander by Directed Street]. Border [The

Fridn og] Drce b Load uzosi Wra: Film Warsaw: Buczkowski. Leonard by Directed Songs]. [Forbidden [A [A Life]Day in

Ti Nto Wl Lv] Drce b Nkl Ppvć Zge: Jadran Zagreb: Popović. Nikola by Directed Live]. Will Nation [This [The Pine Tree in the Mountain] the in Tree Pine [The

[V gorakhIn[V DirectedYugoslavii; theMountainsofYugoslavia]. by . Directed by Alessandro Blasetti. Paris: Orbis film, AlessandroBlasetti.Orbisfilm, . Directed by Paris: [The Role of My Family in the World Revolution] World the in MyFamilyof Role [The 92

Beograd:Zajednica, Filmska Radna 1969. . Directed by Antun Vrdoljak. Zagreb: Vrdoljak. Antun byDirected .

Ł odz: odz: Wytwórnia 1946.