Films Projects & Talents from Serbia
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Klinci Neki Novi
SJAJNI MOMCI: LAZAR RISTOVSKI: Savršeni glumački trio! „Ljubav i praštanje izumiru!“ P.b.b. Verlagspostamt 1020 GZ 09Z037990M GZ 09Z037990M Verlagspostamt 1020 P.b.b. KO04/2017 | IZDANJE BR. 82 | NAŠSMO NAJTIRAŽNIJI MAGAZIN U AUSTRIJI | WWW.KOSMO.AT neki novi klinciEKSKLUZIVNO SUROVA REALNOST: Oni nemaju ni 18 godina, a već nose oružje, plja čkaju, ko nzumiraju i diluju drogu. Für unbeschwerte und sichere Urlaubstage. reiseregistrierung.at Damit wir Sie auch im Ernstfall erreichen können. Gratis App-Download zur Reiseregistrierung Informationen zu Ihrem Urlaubsziel finden Sie unter: www.reiseinformation.at Ein Service des Außenministeriums Bitte beachten Sie: Die Reiseregistrierung ersetzt nicht die Eigenverantwortung! Bei Notfällen im Ausland sind wir jederzeit unter +43-1-90115-4411 für Sie erreichbar. STARS REPORTAŽASPORT 22 U ulozi detektiva 46 Intervju: Miomir Mike Bjelić je profesionalni detektiv Lazar Ristovski koji nam otkriva sve opasnosti ovog posla. On ima iza sebe preko 4.000 predstava, 73 uloga, a već i dva romana. Za KOSMO govori ovaj svestrani umetnik i veliki glumac. COVER 30 Neki novi klinci Mnogi od njih su još uvek maloletnici, ali već nose oružje, plja čkaju, ko nzumiraju i diluju drogu. Naš reporter je uspeo da razgovara sa jednom mladom bandom kriminalaca. 14 POLITIKA 38 ZDRAVLJE 60 AUTOMOTO 64 SPORT Prijem. Predsedavajući Veća Vakcinacija. Manjina va Generacija na dva točka. Živa legenda. Gde je ministara BiH, Denis Zvizdić, kcinisanih u Austriji dovela je Segway već pokazuje da je danas Vanja Grbić? Naša bio je u dvodnevnoj zvaničnoj do zaraze boginjama. Preti li vozilo budućnosti. Saznajte sve dopisnička redakcija je srela poseti Republici Austriji. -
ACP Cultural Component of Citizenship
the CULTURAL COMPONENT of CITIZENSHIP an inventory of challenges The European House for Culture on behalf of the Access to Culture Platform has been funded with the support from the European Commission. This communication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. The Access to Culture Platform is hosted at the European House for Culture. 1 the cultural component of citizenship : an inventory of challenges Table of Contents INTRODUCTION 5 The Cultural Component of Citizenship: an Inventory of Challenges ............... 6 Steve Austen European Citizenship and the Role of Art and Culture .................................. 10 Mary Ann DeVlieg Citizenship and Culture .................................................................................. 28 DEFINING THE CULTURAL COMPONENT OF CITIZENSHIP 37 Mathieu Kroon Gutiérrez Europe and the Challenge of Virtuous Citizenship. What is the Role of Culture? ....................................................................................................................... 38 HOW IS CULTURAL CITIZENSHIP PRACTICED? 53 Matina Magkou Geographies of Artistic Mobility for the Formation and Confirmation of European Cultural Citizenship. ...................................................................... 54 Natalia Grincheva “Canada’s Got Treasures” Constructing National Identity through Cultural Participation ................................................................................................. -
VLASTA VELISAVLJEVI]: U Svakoj Drami Ima Malo Komedije
PONEDELJAK, 20. mart 2017, broj 7112, godina XX cena 40 din, 20 den, 1 KM, 0,7 EUR (CG), 0,7 EUR (SLO), 5 kuna, 1,2 EUR (GR) www.danas.rs lumac Vlasta Velisavljevi} ovogodi{nji je dobitnik nagrade Zlatni }uran za `ivotno delo, najvi{eg priznanja Pozori{nog festivala Dani komedije u Jagodini, koje }e mu biti uru~eno G na zatvaranju manifestacije, 27. marta. „Vlasta Velisavljevi} na{ je rekorder po broju odigranih uloga u pozori{tu, na filmu i televiziji – odigrao je vi{e od 360 uloga! Verujemo, da je po tome bez premca i u svetu. Jo{ kao de~ak daleke 1938. stao je na pozori{nu scenu sa koje ne silazi ni danas. Upravo ga gledamo u Jugoslovenskom dramskom pozori{tu u ulozi Hamletovog oca. Njegove kolege glumci govore o Vlasti kao jednom od najomiljenijih partnera. U svojoj rasko{noj galeriji likova koje je tuma~io Velisavljevi} je izbegao gluma~ki kalup koji bi ga karakterisao. Njegove transformacije su ga u~inile podjednako uspe{nim tuma~em svekolikih ljudskih sudbina. Njegove brojne gluma~ke bravure osta}e u se}anju pozori{nih poslenika. Vlasta Velisavljevi} trajno je urezao svoje ime u pozori{nu umetnost Srbije“, navodi se u obrazlo`enju Upravnog odbora festivala. „Mi glumci `ivimo zbog nagrada i kritika, ali i zbog li~nog zadovoljstva. Bavimo se poslom koji volimo. E sad, em se bavim poslom koji volim, em dobijam za to platu u svom Jugoslovenskom dramskom pozori{tu, em su tu i neke nagrade. Kud }ete vi{e?! Ima li i{ta lep{e i bolje“, ka`e za Danas slavni glumac. -
1 Lenki I Relji, Mojim Unucima
Lenki i Relji, mojim unucima 1 2 Feliks Pašić MUCI Ljubomir Draškić ili živeti u pozorištu 3 4 Ulaz u vilu »Nada« u Omišlju na ostrvu Krku 5 6 Mladom Svetozaru Cvetkoviću, tek pristiglom u Atelje 212, činio se kao ka- kav veliki lutan, očiju dubokih i crnih, sa podočnjacima koji su s godinama posta- jali sve tamniji i dublji. Mira Stupica pamti jedno štrkljasto i visoko dete, krakato, okato, nosato i pomalo dremljivo, koje je kapke imalo uvek napola spuštene, kao roletne. I u sećanju Aleksandra–Luja Todorovića javlja se u istoj slici: visok, štrkljast, šiljat, neopisivo mršav. Vojislavu Kostiću je, tako visok i mršav, sa šišanom bradom, ličio na Don Kihota. Ivana Dimić je imala dvanaest godina kad ga je prvi put videla, na slavi na koju je došla s roditeljima. Među gostima se izdvajao visok, mršav, duhovit čovek koji je psovao. Ogroman, tamnog lica i brade, izgledao joj je kao neki Azijat. Aleksandar–Saša Gruden seća ga se kao klinca koji je s majkom došao kod očeve rodbine u Užice. Prilog opštem utisku: štkljast, nosat, s ogromnim kolenima. Kad su ga upitali kako je, odgovorio je: »Zaštopal mi se nosek.« Posle je objašnjavao da je imao jezički problem: »Govorio sam hrvatski.« Dolasku u Užice 1941. godine prethodi prva velika životna avantura. Od ranih dana naučio je da svet i ljude vidi u slikama. U slikama Zadra, u koji se porodica 1939. seli iz Zagreba, kada je otac Sreten postavljen za vicekonzula Kraljevskog konzulata, prelamaju se, između ostalih, prizori ogromnog stana u kome, po jednom dugačkom hodniku, vozi bicikl. -
FILM FESTIVAL 22Nd - 29Th November 2012
UNDER THE AUSPICES OF THE EMBASSY OF THE REPUBLIC OF SERBIA IN PRETORIA SERBIAN ARTS AND CULTURE SOCIETY AFRICA SERBIAN FILM FESTIVAL 22nd - 29th November 2012 NU METRO, MONTECASINO An author’s perspective of the world Film, as a sublimation of all arts, is a true medium, a universal vehicle with which the broader public is presented with a world view, as seen by the eye of the fi lmmaker. Nowadays, due to the global economic crisis, which is ironically producing technological and all sorts of other develop- ments, an increasing number of people are pushed to the margins of average standards of living, and fi lmmakers are given the chance to bring under their ‘protection’ millions of disillusioned people with their fi lmmaking capabilities. Art, throughout its history, has always praised but has also been heavily critical of its subject. Film is not just that. Film is that and so much more. Film is life itself and beyond life. Film is everything many of us dream about but never dare to say out loud. That is why people love fi lms. That is why it is eternal. It tears down boundaries and brings together cul- tures. It awakens curiosity and builds bridges from one far away coast to another. Film is a ‘great lie’ but an even greater truth. Yugoslavian, and today the Serbian fi lm industry has always been ‘in trend’. It might sound harsh but, unfortunately, this region has always provided ample ‘material’ for fi lms. Under our Balkan clouds there has been an ongoing battle about which people are older, which came and settled fi rst, who started it and who will be fi rst to leave and such battles have been and continue to be an inspiration to fi lm producers. -
Emir Kusturica Interview 2
PROFILE 5 I SUFFER SO MUCH MORE WHEN I AM WORKING BECAUSE I AM NOT AS TALENTED AS I BELIEVE I AM EMIR KUSTURICA Clash for a messy rendition of Police on My Back. “I liked [late Clash frontman] Joe Strummer be- cause he was against mainstream politicians and hypocrisy. He called our music ‘crazy Greek Jewish wedding music of the past and future’, which is still true,” says Kusturica. Part cultural Alamo, part Plato’s Republic, “People leave our concerts feeling incredibly Kustendorf has all that the civilised world con- Eclectic line-up from here, there and everywhere enthusiastic about life, at least for an hour. This tains: art, agriculture, internet, shops, debate. happened in Australia when we played a big Cats, dogs, geese … animals figure heavily in WOMADelaide serves up one of the most Godfrey Reggio film Koyaanisqatsi in an aural opera hall [the Sydney Opera House in 2008]. Kusturica’s cinematic oeuvre, providing sight eclectic line-ups on the Australian music and cinematic feast, while Argentina’s Friends we hadn’t seen for a long time were very gags, reinforcing the animalistic nature of hu- calendar and this year’s roster is no different. Orquesta Tipica Fernandez Fierro delivers its proud. Australians who had seen Black Cat, mans but also highlighting characteristics such There is a wealth of riches over the four days vibrant and confronting take on the tango White Cat were very enthusiastic. as instinct and empathy, which the filmmaker across all manner of genres and from all points tradition. Ska also gets a guernsey in the form “Our music has patterns that create a Dionys- feels we have lost. -
MIKI MANOJLOVIC Monografija 08.Indd
A ko si ti? Automonografija Predraga Mikija Manojlovića Ova knjiga je posvećena Predragu Mikiju Manojloviću, laureatu nagrade Dobričin prsten za 2012. Dobitnici nagrade Dobričin prsten LJUBA TADIĆ (1980.) MIRA STUPICA (1981.) MIJA ALEKSIĆ (1982.) ZORAN RADMILOVIĆ (1983.) NEVENKA URBANOVA (1984.) RAHELA FERARI (1986.) BRANKO PLEŠA (1988.) DANILO STOJKOVIĆ (1990.) MARIJA CRNOBORI (1992.) MATA MILOŠEVIĆ (1994.) LJILJANA KRSTIĆ (1995.) PETAR KRALJ (1996.) OLIVERA MARKOVIĆ (1997.) RADE MARKOVIĆ (1998.) STEVAN ŠALAJIĆ (1999.) MIRA BANJAC (2000.) VLASTIMIR ĐUZA STOJILJKOVIĆ (2001.) STEVO ŽIGON (2002.) MIHAILO MIŠA JANKETIĆ (2003.) PETAR BANIĆEVIĆ (2004.) Automonografija dobitnika nagrade Dobričin prsten SVETLANA BOJKOVIĆ (2005.) BORA TODOROVIĆ (2006.) KSENIJA JOVANOVIĆ (2007.) PREDRAG EJDUS (2008.) 7 VOJISLAV BRAJOVIĆ (2009.) JELISAVETA SEKA SABLIĆ (2010.) RUŽICA SOKIĆ (2011.) PREDRAG MIKI MANOJLOVIĆ (2012.) JASNA ĐURIĆIĆ (2014.) SVEČANA DODELA NAGRADE DOBRIČIN PRSTEN PREDRAGU MIKIJU MANOJLOVIĆU NASLEĐE VELIKOG GLUMCA LJILJANA ĐURIĆ, predsednica Udruženja dramskih umetnika Srbije Verujem da većina vas poznaje istoriju Dobričinog prstena, ali isto tako verujem da ima i onih koji do sada ovu priču nisu čuli. Zato mi dozvolite da pročitam kratak zapis gospođe Ksenije Šukuljević Marković: Udruženje glumaca Kraljevine Jugoslavije dodelilo je zlatan prsten Dobrici Miluti- noviću, velikanu srpskog glumišta povodom četrdesete godišnjice njegovog umetničkog rada 1937. godine. Udruženje je smatralo da Dobricu Milutinovića treba izdvojiti iz plejade velikih glumaca i ovenčati nesvakidašnjom nagradom koja će se pamtiti i simbo- lizovati njegovu umetničku ličnost. Odlučilo je da prsten bude prelazni, da se dodeljuje Automonografija dobitnika nagrade Dobričin prsten najboljem glumcu i da se na taj način sačuva trajan spomen na Dobricu. Donet je i pra- vilnik po kojem je trebalo da Dobrica odredi dobitnika prstena ili da to učini odabrana tročlana komisija. -
Yugoslav Cinema
Egemia, 2018; 3: 31-49 31 TRANSFORMATION OF TRAUMATIC CHARACTERS IN POST- YUGOSLAV CINEMA Ahmet Ender UYSAL* ABSTRACT This study examines the changes Yugoslav cinema realized from the 1980s to the 2000s, and seeks to see the contributions of three important post-Yugoslav directors to the transformation of the cinema characters. The post-Yugoslav states emerged after the disintegration of Yugoslavia, and they underwent political and cultural changes as a result of the collapse of the former Yugoslav socialism and the post-civil war. Post- Yugoslav cinema, which took its share from these changes, experienced crises of national identity and modernization. Examining these changes in cinema with cinematic characters is also very important in terms of visualizing cultural and economic changes in a cinematic sense. The real problem here is where the boundary of this change will be drawn. This is because, although the characters in post-Yugoslavian cinema have been transformed, there is still some cinematic tradition that continues today. Post-Yugoslav cinema will therefore be considered within the period of 1980s. Keywords: Post-Yugoslav cinema, trauma, cinematic characters * Arş. Gör., Yüzüncü Yıl Üniversitesi Güzel Sanatlar Fakültesi, Sinema-Televizyon Bölümü / VAN E-posta: [email protected] Makale Gönderim Tarihi: 14.06.2018 – Makale Kabul Tarihi: 16.10.2018 32 Egemia, 2018; 3: 31-49 INTRODUCTION Often, the concept of post-Yugoslavian cinema offers curative effects on rejection of failure and the search for hope, and becomes a common stake of new countries emerging after the dissolution of the former Yugoslavia, which is increasingly adopted in the field of film studies (Šprah, 2015: 184). -
Tedde, Adriano Antonio
The Other America of Paul Auster, Jim Jarmusch and Tom Waits Author Tedde, Adriano Antonio Published 2019-10-23 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2054 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/388986 Griffith Research Online https://research-repository.griffith.edu.au The Other America of Paul Auster, Jim Jarmusch and Tom Waits Adriano Tedde, PhD candidate School of Humanities, Languages and Social Sciences Griffith University. Thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy March 2019 0 ABSTRACT This thesis employs popular culture texts (works of literature, film, and popular music) as companions to the understanding of contemporary America. It is about artworks that form a cultural resistance that enables the appreciation of social issues and cultural decline in the United States. The authors of these artworks are novelist Paul Auster, filmmaker Jim Jarmusch, and musician Tom Waits. Born between the late 1940s and the early 1950s, in different parts of the United States, Auster, Jarmusch, and Waits have produced a series of works that share strong similarities. In their novels, films, and songs, they portray an imagined “Other America” that is in stark contrast with the idyllic vision of the American Dream. Their America does not coincide with conventional middle-class values and goals of success, money and social upward mobility. It is an open, tolerant, and egalitarian country inhabited by marginalized “other Americans” who never escape from poverty and failure. -
Cinema City 2010 Booklet.Pdf
120 filmova 20 lokacija 12 programskih selekcija 8 dana 5 bioskopa This program is supported by the Katolička porta | Austrian Development Cooperation This program is supported by the Srpsko narodno pozorište | Austrian Development Cooperation Dunavski park Pozorište mladih Muzej savremene umetnosti Vojvodine ULAZNICE SNP i Katolička porta Pretprodaja ulaznica od 24.maja i prodaja u toku festivala: Cinema City Box Office – Trg Slobode -Cena ulaznice Last Minute tickets (30 min pre projekcije): Cinema City Box Office – Trg Slobode SNP Cinema City desk *Ovaj buklet ne sadrži kompletan program festivala Cinema City. Festival zadržava pravo izmene programa. Za detaljnije informacije posetite sajt www.cinemacity.org ili potražite festivalske satnice na Cinema City Box Office-u na Trgu slobode. Dobro došli na CINEMA CITY Internacionalni Festival filma i medija Cinema City održaće se od 5. do 12. juna 2010. u Novom Sadu. Tokom osam dana Novi Sad će ponovo postati grad - festival, sa bogatim filmskim, muzičkim i akademskim programima. Novo izdanje Cinema City festivala obeležiće brojni noviteti u organizaciji, kao i premijere domaćih i stranih filmova i ugledni gosti iz sveta filma. Filmski program festivala predstaviće 12 selekcija domaće i strane produkcije, sa tri takmičarske selekcije i brojnim retrospektivama. Preko 120 filmova, više od trideset premijera prikazivaće se u četiri zatvorena i dva open air bioskopa, a festival dodeljuje 20 nagrada za domaći, internacionalni i niskobudžetni film. Film otvaranja TAJNA U NJIHOVIM OČIMA El secreto de sus ojos / Argentina, Španija, 2009. / Trajanje: 127 min / Režija: Juan José Campanella / Glavne uloge: Soledad Villamil, Ricardo Darín, Carla Quevedo, Pablo Rago, Javier Godino. Izuzetna drama sa elemetima trilera ovogodišnji je dobitnik Oskara za najbolji film van engleskog govornog područja. -
Serbia Feels the Heat Over Šešelj Extradition
Issue No. 181 Friday, April 03 - Thursday, April 16, 2015 ORDER DELIVERY TO Ties of wood Traces of Nazi Tango fever YOUR DOOR +381 11 4030 303 become occupation strikes [email protected] - - - - - - - ISSN 1820-8339 1 golden linger in Belgrade BELGRADE INSIGHT IS PUBLISHED BY 0 1 opportunity Belgrad once again Page 5 Page 9 Page 10 9 7 7 1 8 2 0 8 3 3 0 0 0 Even when the Democrats longas continue to likely is This also are negotiations Drawn-out Surely the situation is urgent Many of us who have experi We feel in-the-know because bia has shown us that (a.) no single no (a.) that us shown has bia party or coalition will ever gain the governa form to required majority negotiations political (b.) and ment, will never be quickly concluded. achieved their surprising result at last month’s general election, quickly itbecame clear that the re sult was actually more-or-less the result election other every as same in Serbia, i.e. inconclusive. as Serbia’s politicians form new political parties every time disagree with they their current party reg 342 currently are (there leader political parties in Serbia). istered the norm. One Ambassador Belgrade-based recently told me he was also alarmed by the distinct lack of urgency among politicians. Serbian “The country is standstill at and a I don’t understand their logic. If they are so eager to progress towards the EU and en theycome how investors, courage go home at 5pm sharp and don’t work weekends?” overtime. -
Sadržaj Contents
Logotip - Hrvatska verzija 62. Pulski filmski festival održava se pod visokim pokroviteljstvom predsjednice Republike Hrvatske Kolinde Grabar-Kitarović 62nd Pula Film Festival is being held under the high patronage of Kolinda Grabar-Kitarović, the President of the Republic of Croatia Logotip - Engleska verzija Sadržaj Contents Tko je tko Who is who 3 Uvodna obraćanja Introductions 4 Ocjenjivački sudovi i nagrade Juries and Awards 10 HRVatSKI PROGRAM CRoatiaN PROGRAMME 26 Dugometražni film – natjecanje Features – Competition 26 Kratkometražni film – natjecanje Shorts – Competition 58 MeđUNARODNI PROGRAM INTERNatioNAL PROGRAMME 68 Dugometražni film – natjecanje Features – Competitions 68 Dugometražni film – izvan konkurencije Features – Out of Competition 84 Samo kratko Short Matters! 90 StudENTSKI PROGRAM StudENT PROGRAMME 98 DIZALica – program za mlade Youth Programme 110 PuLica – program za djecu Children' s Programme 116 SUSJEDI I PRijatELJI NEIGHBOURS AND FRIENDS 130 Retrospektiva – Ivana Primorac Retrospective – Ivana Primorac 134 Pulska kinoteka Pula Cinematheque 142 Festivalski hommage – Tomislav Radić Festival Hommage – Tomislav Radić 150 PoPRatNI PROGRAMI SIDEBAR PROGRAMME 156 PULA PROfessional 158 Izložbe Exhibitions 168 Portarata 173 P. S. Pula 174 Pulica u kaputu Coated Pulica 175 2 Tko je tko Who is who VIJEĆE PULSKOG FILMSKOG FESTIVALA / PULA FILM FESTIVAL COUNCIL Berislav Šipuš, predsjednik / president Valter Flego, Boris Miletić, Hrvoje Hribar, Goran Radman, Danilo Šerbedžija, Ivan Goran Vitez, Hrvoje Osvadić, Jasna Jaklin