Born 14.10.1972. in Belgrade, YU Has Math, Natural Sciences and technical background (studied Civil Engineering), but made academic and career turn during '90s. Graduated from Faculty of Dramatic Arts in Belgrade (Dramaturgy Department) in 2002. Holds MA and PhD from the same institution (Film Theory Department). Her PhD thesis is "Theory of Narrative Construction in Post-Yugoslav Cinema 1994-2008".Active film critic at Radio Belgrade 2 (2002 - onging).Currently works as Chief editor of Drama Department of Radio Belgrade.Also writes prose and theatre plays.
Primarily referring to Bakhtinʼs concept of chronotope, in this paper we scrutinize idea of “wome... more Primarily referring to Bakhtinʼs concept of chronotope, in this paper we scrutinize idea of “womenʼs” chronotope as womenʼs space-time in film texts “Snow” (“Snijeg”) directed by Aida Begić and “Tears for Sale” (“Čarlston za Ognjenku”) directed by Uroš Stojanović, both narrating the lives of women on the margins of the war. We juxtapose traditional concept of “womenʼs” time (Julia Kristeva) as cyclic and non-linear, and “menʼs” linear time, positioning female subject out of the progression of “menʼs” time, the time of history. Further we identify two womenʼs chronotopes (fictional topoi – the villages Pokrp in Serbia and Slavno in Bosnia) as places of mourning following Freudʼs concept of mourning process which terminates in overcoming the trauma caused by the loss of beloved object (men killed in wartime). In those film texts we distinguish narrating the loss through ritual and symbolic acts of invoking the missing male subject, and on the other hand, we identify the strategy of overcoming the trauma through gender roles inversion and adopting masculinity (woman assumes active principle and she becomes the bearer of the gaze [Laura Mulvey]). Bakhtinʼs chronotope motif of meeting in aforementioned film texts we further differentiate within the framework of regeneration chronotope (suggesting happy ending in “Snow” in a certain way) and degradation chronotope, in “Tears for Sale” (Bemon and Borghart).
Najpre referišući na pojam Bahtinovog hronotopa, u radu se bavimo analizom pojma „ženskog“ hronotopa kao ženskog prostorvremena u filmskim tekstovima „Snijeg“ Aide Begić i „Čarlston za Ognjenku“ Uroša Stojanovića, koji tematizuju život žena na marginama rata. Donosimo poređenje tradicionalno shvaćenog pojma „ženskog“ vremena (Julija Kristeva) kao cikličnog i nelinearnog, i „muškog“, linearnog vremena, pozicionirajući ženski subjekt van tokova „muškog“ vremena, vremena istorije. Lociramo dva ženska hronotopa (fiktivne topose sela Pokrp u Srbiji i Slavno u Bosni) kao mesta žaljenja, kroz Frojdov pojam procesa tuge/tugovanja/žaljenja, koji ishodište ima u prevladavanju traume usled gubitka voljenih (muškaraca nastradalih u ratu). Narativizovanje gubitka u ovim filmskim tekstovima prepoznajemo kroz ritualne i simboličke radnje kojima se odsutni muškarci prizivaju, a, s druge strane, pronalazimo strategiju prevladavanja traume kroz inverziju rodnih uloga i preuzimanje maskuliniteta (žena postaje aktivni princip i nosilac pogleda [Lora Malvi]). Bahtinov motiv hronotopa susreta u slučaju dva filmska teksta diferenciramo u okviru hronotopa regeneracije (koji predstavlja jedan oblik sugerisanog happy enda u „Snijegu“) odnosno hronotopa degradacije, u „Čarlstonu...“ (Bemon i Borghart).
STRATEGIES OF FILM MINIMALISM AND TRANSCENDENТAL IN SCIENCE FICTION FILM ARRIVAL BY DENIS VILLENE... more STRATEGIES OF FILM MINIMALISM AND TRANSCENDENТAL IN SCIENCE FICTION FILM ARRIVAL BY DENIS VILLENEUVE
Abstract: Science fiction as a film genre often employs strategies of minimalism – through elements such as narrative structure, shots, camera angles, camera movement, composition, lighting, color, costume, set design and sound narration, minimalistic technique manifests transcendental style the way Paul Schrader uses this term in his study Transcendental Style in Film: Ozu, Bresson, Dreyer (although it doesn’t cover this genre). This technique involves reduction principle in all possible forms, as well as repetition, abandoning decorative details and expressive techniques, conveying film narrative to a stasis, a point where sparse means collide. Ontological query posed by SF dramas such as Kubrick’s 2001: A Space Odyssey, Tarkovsky’s Solaris, Danny Boyle’s Sunshine, Alfonso Cuarón’s Gravity, where suspense derives from human’s contact with Universe and from transcendence of earthly existence, also frames the film narrative Arrival directed by Canadian filmmaker Denis Villeneuve. Consistently executing minimalistic strategies, Villeneuve guides female protagonist through contact with extraterrestrial beings into sphere of transcendental experience. This paper interprets those strategies in film medium which follow minimalistic practices of painters and visual artists (Frank Stella, Barnett Newman, Mark Rothko and the likes) as well as techiques of music minimalism through sound design and original soundtrack. The protagonist’s contact with heptapodes (extraterrestrials with 7 limbs) not only results in deciphering their written language but in her own epiphany – going through transcendental experience, she is given a gift to foresee her future and make life decisions.
Naučna fantastika kao filmski žanr neretko primenjuje strategije minimalizma - u elementima kao što su narativna struktura, odabir planova, pokreti kamere, kompozicija kadra, osvetljenje i boja, kostim i scenografija, i zvučna naracija, primena minimalističkih tehnika svedoči o transcendentalnom stilu, shvaćenom onako kako to navodi Pol Šreder sedamdesetih u svojoj istoimenoj studiji (iako se ona sama ne bavi ovim žanrom). Ontološka pitanja koja postavljaju SF drame kao što su 2001: Odiseja u svemiru Stenlija Kubrika, Solaris Andreja Tarkovskog, Sunce Denija Bojla ili Gravitacija Alfonsa Kuarona, u kojima napetost leži u susretu čoveka i vasione, mikro i makrokosmosa, i transcendiranju ovozemaljske egzistencije, uokviruju i filmski narativ Dolazak kanadskog reditelja Denija Vilneva. On doslednom primenom minimalističkih strategija vodi glavnu junakinju kroz kontakt sa vanzemaljskim bićima u domen transcendentalnog iskustva. Ovaj rad iznosi te strategije koje se u mediju filma naslanjaju na minimalističke postupke autora u likovnim umetnostima (Frenk Stela, Barnet Njumen, Mark Rotko) kao i na postupke minimalizma u muzici kroz dizajn zvuka i originalni soundtrack.
In this paper I shall negotiate repetition of romantic encounters in following contemporary Holyw... more In this paper I shall negotiate repetition of romantic encounters in following contemporary Holywood rom-coms: "High Fidelity", "13 Going On 30", "50 First Dates" and "Eternal Sunshine of the Spotless Mind", as well as their narrative temporality and motives of memory and nostalgia. I shall analyze their convergence of nonlinear narrative structure toward melodrama and film noir through Rick Altman’s semantic/syntax model. I shall also negotiate the aforementioned rom-coms as modern equivalents of “comedies of a remarriage”. In this paper I will negotiate contemporary nonlinear romcom narratives (High Fidelity; 13 Going On 30; 50 First Dates; and radically challenging Eternal Sunshine of the Spotless Mind) - deconstruction of a narrative temporality, motives of memory and nostalgia - in an attempt to demonstrate that contemporary rom-com became considerably hybridized. It’s hybridization happened due to: 1. Converging it’s nonlinear narrative structure toward melodrama and film noir structure which intrinsic specific consists of exploiting memory leitmotif using flashbacks, 2. Disputing the very convention of happyend (i.e. Eternal Sunshine, which possesses some of the rom-com tropes and at the same time a suggestive open ending), 3. Appropriating genre models and conditions of fantasy and science fiction (prominent in 13 Going On 30 as well as in Eternal Sunshine where memory is being literally erased from protagonist’s mind). In addition, I will negotiate the aforementioned rom-coms as modern equivalents of “comedies of a remarriage” (the term coined by Stanley Cavell). Finally, I will incorporate those rom-coms into postmodern romance myth which maintains itself in (eternal) ironic repetition of love encounters and elusive protagonists’ identity.
U ovom radu razmatram nelinearne narative savremenih holivudskih romantičnih komedija (skrać. romkom): "High Fidelity", "Danas 13 sutra 30", "50 prvih poljubaca", kao i radikalni "Večni sjaj besprekornog uma", njihovu dekonstrukciju narativne temporalnosti, motive sećanja i nostalgije, a sve u pokušaju da demonstriram da je savremeni romkom postao umnogome hibridizovan. Hibridizacija ovog žanra dogodila se 1. Konvergencijom njegove nelinearne narativne strukture prema melodrami i žanru film noir čija se osobena struktura sastoji u eksploataciji lajtmotiva sećanja uz upotrebu flešbeka, 2. Problematizovanjem same konvencije happyenda (npr. u slučaju "Večnog sjaja besprekornog uma" koji poseduje neke od tropa karakterističnih za romkom ali istovremeno i sugestivni otvoren kraj), 3. Aproprijacijom žanrovskih modela i uslovnosti fantastike i naučne fantastike (dominantno u ostvarenju Danas 13 sutra 30 kao i u Večnom sjaju besprekornog uma u kojem se sećanje doslovno briše iz uma protagoniste). Koristeći teorijsku platformu Rika Altmana pokazujem da je romantična komedija doživela hibridizaciju i divergenciju žanra kroz semantičko-sintaksnu ravan, te se savremeni romkom pozicionira u preseku sintakse („rečeničnog sklopa“) melodrame i film noira, i semantike (gradivnih jedinica filmske priče) tzv.“otkačene“ komedije, skrubola. Takođe, razmatram i pomenute romkome kao moderne ekvivalente podžanrova kao što su „komedije ponovnog venčanja“ (vođena sintagmom Stenlija Kavela) i „priče o vezama“ (koje je definisao Robert Šamvej). Konačno, inkorporiram ove romkome u mit o postmodernoj romansi koji održava sam sebe u večnoj i ironičnoj repeticiji ljubavnih susreta izazvanoj kontinuiranim osećajem nostalgije, kao žaljenjem za nepovratnošću vremena.
U ovom radu bavimo se dvema filmskim i TV adaptacijama Andrićeve proze: „Anikinim vremenima“ (r.V... more U ovom radu bavimo se dvema filmskim i TV adaptacijama Andrićeve proze: „Anikinim vremenima“ (r.Vladimir Pogačić, 1956) i „Bifeom Titanik“ (r. Emir Kusturica, 1979) kao primerima eksploatacije Bahtinovog hronotopa susreta. Susret protagonista (Anike i Mihajla, odnosno Mente Pape i Stjepana Kovića) definiše sam narativni tok kako književnog dela tako i filmske adaptacije. U oba slučaja susret je fatalan po protagoniste i intonira melodramski motiv kobi, te uspostavlja i sam žanr melodrame. Komparacijom književnog izvornika i filmske adaptacije (bez težnje za evaluacijom i traganjem za „vernošću“ originalu) otkrivamo narativne strategije koja su primenjene u filmskom narativu a kojima se književni hronotop transponuje u filmski. Kao analitičku aparaturu koristimo najpre Bahtinov pojam „dijalogičnosti“ i Ženetov pojam „transtekstualnosti“ značajne za razmatranje problema (književne i filmske) adaptacije, kao i osnovne naratološke odrednice „analepsis“ i „prolepsis“, dok centralni deo zauzima primena Bahtinove teorije romana u kojoj je i uveden pojam hronotopa (kao i hronotopa susreta). Osvrćemo se i na dominantnost kategorije vremena u književnom i filmskom delu „Anikina vremena“ odnosno prostora u delu „Bife Titanik“.
In this paper we shall scrutinize two film and TV adaptations of Ivo Andrić’ literary work: “Times of Anika” directed by Vladimir Pogačić (1956) and “Buffet Titanic” directed by Emir Kusturica (1979), both examples of artistic exploitation of Michael Bakhtin’s concept of chronotope of meeting/encounter. “Times of Anika” narrates love encounter of Anika and Mihajlo in 19th century rural Bosnia, and “Buffet Titanic” narrates fatal encounter of Mento Papo and Stjepan Ković, a Jew and an Ustasha officer in WWII Sarajevo. Those two crucial and most dramatic meetings define and frame the very narrative, both in fiction and in film adaptations. In both cases the encounter proves to be disastrous for all the parties, invoking motif of fate organic to melodrama genre. Comparing literary source to its film adaptation (avoiding evaluation of the faithfulness to the original) we determine narrative strategies through which it was possible to transpose literary chronotope into cinematic one. In terms of analytical apparatus, we initially employ both Bakhtin’s concept of dialogism (his neologism) and Gerard Genette’s concept of transtextuality, in regards to Robert Stam’s elaboration of Bakhtin’s idea of inherent space/time relation, as well as basic narrative terms such as analepis and prolepsis, while central part of the paper elaborates Bakhtin’s theory of the novel in which the concept of chronotope is introduced (as well as the chronotope of meeting). We shall also take into account the dominating category of time and space in literary and cinematic pieces “Times of Anika” and “Buffet Titanic”, respectfully - time becomes identifying category in former and space becomes determinate in latter.
Zbornik radova Fakulteta Dramskih umetnosti , 2009
In this paper "Life and Death of a Porno Gang as a Narrativization of the Quest for the Porno(dys... more In this paper "Life and Death of a Porno Gang as a Narrativization of the Quest for the Porno(dys)topia" (further referenced as "Porno Gang") I attempt to determine theoretical referential frame for interpreting Mladen Đorđević’s aforementioned fiction film. Those references are publication of scholars covering array of Porn studies (such as Linda Williams) as well as literary critics and essayists who were academically interested in pornographic in literature becoming its apologeta (Susan Sontag and Roland Barthes). Scrutinizing this road movie, I position "Porno Gang" not as pornography but as an art film text which uses pornography as a metaphore of dehumanizing society. I also negotiate influences of paradigmatic film text starting with Yugoslav "Black wave", including Živojin Pavlović’s "Kad budem mrtav i beo" (1967), Želimir Žilnik’s "Rani radovi" (1969) and "Marble Ass"(1995), and Dušan Makavejev’s "W.R.: Misterije organizma" (1971) and "Sweet Movie" (1974) emphasizing their docu-fiction manner. I juxtapose those dark overtones of "Black wave" to much lighter jovial John Water’s opus ("Mondo Trasho"; "Pink Flamingos") whose underground trash aesthetics Mladen Đorđević ostensibly elaborates in graphic representation of "Porno Gang". I also observe Đorđević’s homages to NY art films of Andy Warhol and Paul Morrissey, and finally, contemporary Russian cineaste, Alexei Balabanov, whose seminal "Of Freaks and Men" (1998) and "Cargo 200" (2007) re-articulate social criticism and political grotesque of both 19th and 20th fin de siecle. In search of motives of Đorđević’s characters to immerse into an utopia of post-Milošević’s era, I identify inevitable anti-utopian and dystopian both Serbian and Western society which Đorđević articulates through the suffering, bestiality and anticlimax of his stigmatized characters (homosexuals, porn stars and drug addicts) who fail to educate and enlighten Serbian rural people with free sexual expression in social and political provocative manner.
U radu se bavim tematizacijom pornografije u igranom filmu "Život i smrt porno bande" Mladena Đorđevića kao metafore dekadencije i beznađa kako postmiloševićevskog društva tako i Balkana i civilizacije uopšte. Pozicioniram ga kao road movie melodramu, i pronalazim uticaje ključnih autora Crnog talasa (Pavlović, Žilnik, Makavejev) na Đorđevićevu estetiku, kao i omaže Džonu Votersu, EndijuVorholu i Polu Morisiju. Konačno, određujem topos pornodistopije kao društva koje se simbolički koristi pornografskim praksama (sadizma, nekrofilije...) u gušenju ljudskih sloboda.
Filming Belgrade in The Third Millenium: Searching For The (Lost) Identity
Abstract
In this pap... more Filming Belgrade in The Third Millenium: Searching For The (Lost) Identity
Abstract
In this paper I negotiate terms of urbanity and urban in contemporary film narratives, mostly made by directors-newcomers. I will explore those terms as well as the term urbicide which became a neuralgic phaenomenon of the Balkan wars of the 90s, scrutinized both in the writings of Bogdan Bogdanović and Martin Coward, the latter defining urbanity “as an existential condition of plurality or heterogeneity”. Analyzing film representations of Belgrade identity I used theoretical platforms of historians and philosophers such as Andreas Huyssen, Svetlana Boym, Paul Virilio and Fredric Jameson. I posit Belgrade not only as a setting for a melodrama or social drama in transitional period marked by October 5th, 2000 (Here and There by Darko Lungulov) but also as a palimpsest, a memory depot and a place of the feeling of nostalgia (Belgrade Phantom by Jovan Todorović and Montevideo by Dragan Bjelogrlić) . On the other hand, Belgrade becomes a chronotope of urbicide (War Live by Darko Bajić, The Land of Truth, Love and Freedom by Milutin Petrović, Skinning by Stevan Filipović, The Box by Andrijana STojković). Finally, Belgrade is discerned as a point of possible de-balkanization, where the burden of its turbulent history transmutates both into the rediscovered charm and exotics (Practical Guide to Belgrade with Singing and Crying by Bojan Vuletić) and into the fight for the human rights such as controversial Gay Pride (Parade by Srđan Dragojević).
TRAUMA I POSTJUGOSLOVENSKI FILM: NARATIVNE STRATEGIJE/ TRAUMA AND POSTYUGOSLAV CINEMA: NARRATIVE STRATEGIES, 2019
Postjugoslovenski filmovi koji tematizuju rat u Jugoslaviji i njegove posledice predstavljaju med... more Postjugoslovenski filmovi koji tematizuju rat u Jugoslaviji i njegove posledice predstavljaju medije kulturnog pamćenja pri čemu ih posmatramo i kao istorijske filmove u užem smislu, ali budući da se njihovi narativi referišu na stvarni i to traumatski događaj – rat na prostoru bivše Jugoslavije – oni u sebi nose istorijsko pamćenje, te ih možemo sagledati kao posebna mesta sećanja (Pjer Nora) i svojevrsne vizuelne arhive (Jan i Aleida Asman). Postjugoslovenski filmovi producirani u Srbiji, Hrvatskoj, Bosni i Hercegovini i Makedoniji, u svom prefiksu post (koji podrazumeva postmoderni odnos razbijanja master-narativa (Liotar) i odnos prema istoriji uopšte) nose kritički odnos i referencu na jugoslovenski conditio. Izbor postjugoslovenskih ostvarenja su filmski tekstovi nasta(ja)li i producirani u toku i nakon raspada SFRJ koji su referentni za samu temu – dominantno, po načinu konstrukcije nelinearnih narativa i motiva traumatskog sećanja. Hronološki, dakle, prvi filmski tekst koji bi ograničio ovaj raspon nastao je 1994 („Pre kiše“ Milča Mančevskog), a poslednji 2017 („Kada dan nije imao ime“ Teone Strugar Mitevske). Vodilja je, dakle, bio sâm način prezentovanja narativa osim u slučaju gde je u pitanju linearna naracija, a to je „Grbavica“ Jasmile Žbanić, gde je kontinuitet pripovedanja razbijen svedočanstvom protagonistkinje, kao i u slučaju narativa „Zvizdan“ Dalibora Matanića, sačinjenog od tri odeljene priče s vremenskim razmakom od po deset godina. U svim ostalim ostvarenjima u pitanju je nelinearno pripovedanje uz korišćenje narativne tehnike flešbeka, ili pak dokumentarnih inserata koji razbijaju kontinuitet narativa, kao i samo prisustvo referenci na raspad Jugoslavie i intenzitet njegovih posledica. Izbor je formiran tako da bi se mogao doneti reprezentativni kinematografski presek neposredne prošlosti – od autora koji su sazrevali u doba bivše Jugoslavije (Emir Kusturica i Ademir Kenović), preko onih koji su debitovali u vreme početka raspada zemlje (Srđan Dragojević) ili u neposredno postdejtonsko vreme (Vinko Brešan, Gorčin Stojanović i Dejan Zečević), ili pak debituju u doba i dalje aktuelnih sukoba, ali ne tematizujući ih neposredno (Milčo Mančevski), konačno do onih autora koji debituju nakon 2000. (Milutin Petrović, Srdan Golubović, Arsen A.Ostojić, Dalibor Matanić, Zvonimir Jurić, Goran Dević, Kristijan Milić, Jasmin Duraković i Teona Strugar Mitevska) kao i autorke koje tretiraju ekskluzivno žensku optiku (Jasmila Žbanić, Aida Begić i Mirjana Karanović).
Primarily referring to Bakhtinʼs concept of chronotope, in this paper we scrutinize idea of “wome... more Primarily referring to Bakhtinʼs concept of chronotope, in this paper we scrutinize idea of “womenʼs” chronotope as womenʼs space-time in film texts “Snow” (“Snijeg”) directed by Aida Begić and “Tears for Sale” (“Čarlston za Ognjenku”) directed by Uroš Stojanović, both narrating the lives of women on the margins of the war. We juxtapose traditional concept of “womenʼs” time (Julia Kristeva) as cyclic and non-linear, and “menʼs” linear time, positioning female subject out of the progression of “menʼs” time, the time of history. Further we identify two womenʼs chronotopes (fictional topoi – the villages Pokrp in Serbia and Slavno in Bosnia) as places of mourning following Freudʼs concept of mourning process which terminates in overcoming the trauma caused by the loss of beloved object (men killed in wartime). In those film texts we distinguish narrating the loss through ritual and symbolic acts of invoking the missing male subject, and on the other hand, we identify the strategy of overcoming the trauma through gender roles inversion and adopting masculinity (woman assumes active principle and she becomes the bearer of the gaze [Laura Mulvey]). Bakhtinʼs chronotope motif of meeting in aforementioned film texts we further differentiate within the framework of regeneration chronotope (suggesting happy ending in “Snow” in a certain way) and degradation chronotope, in “Tears for Sale” (Bemon and Borghart).
Najpre referišući na pojam Bahtinovog hronotopa, u radu se bavimo analizom pojma „ženskog“ hronotopa kao ženskog prostorvremena u filmskim tekstovima „Snijeg“ Aide Begić i „Čarlston za Ognjenku“ Uroša Stojanovića, koji tematizuju život žena na marginama rata. Donosimo poređenje tradicionalno shvaćenog pojma „ženskog“ vremena (Julija Kristeva) kao cikličnog i nelinearnog, i „muškog“, linearnog vremena, pozicionirajući ženski subjekt van tokova „muškog“ vremena, vremena istorije. Lociramo dva ženska hronotopa (fiktivne topose sela Pokrp u Srbiji i Slavno u Bosni) kao mesta žaljenja, kroz Frojdov pojam procesa tuge/tugovanja/žaljenja, koji ishodište ima u prevladavanju traume usled gubitka voljenih (muškaraca nastradalih u ratu). Narativizovanje gubitka u ovim filmskim tekstovima prepoznajemo kroz ritualne i simboličke radnje kojima se odsutni muškarci prizivaju, a, s druge strane, pronalazimo strategiju prevladavanja traume kroz inverziju rodnih uloga i preuzimanje maskuliniteta (žena postaje aktivni princip i nosilac pogleda [Lora Malvi]). Bahtinov motiv hronotopa susreta u slučaju dva filmska teksta diferenciramo u okviru hronotopa regeneracije (koji predstavlja jedan oblik sugerisanog happy enda u „Snijegu“) odnosno hronotopa degradacije, u „Čarlstonu...“ (Bemon i Borghart).
STRATEGIES OF FILM MINIMALISM AND TRANSCENDENТAL IN SCIENCE FICTION FILM ARRIVAL BY DENIS VILLENE... more STRATEGIES OF FILM MINIMALISM AND TRANSCENDENТAL IN SCIENCE FICTION FILM ARRIVAL BY DENIS VILLENEUVE
Abstract: Science fiction as a film genre often employs strategies of minimalism – through elements such as narrative structure, shots, camera angles, camera movement, composition, lighting, color, costume, set design and sound narration, minimalistic technique manifests transcendental style the way Paul Schrader uses this term in his study Transcendental Style in Film: Ozu, Bresson, Dreyer (although it doesn’t cover this genre). This technique involves reduction principle in all possible forms, as well as repetition, abandoning decorative details and expressive techniques, conveying film narrative to a stasis, a point where sparse means collide. Ontological query posed by SF dramas such as Kubrick’s 2001: A Space Odyssey, Tarkovsky’s Solaris, Danny Boyle’s Sunshine, Alfonso Cuarón’s Gravity, where suspense derives from human’s contact with Universe and from transcendence of earthly existence, also frames the film narrative Arrival directed by Canadian filmmaker Denis Villeneuve. Consistently executing minimalistic strategies, Villeneuve guides female protagonist through contact with extraterrestrial beings into sphere of transcendental experience. This paper interprets those strategies in film medium which follow minimalistic practices of painters and visual artists (Frank Stella, Barnett Newman, Mark Rothko and the likes) as well as techiques of music minimalism through sound design and original soundtrack. The protagonist’s contact with heptapodes (extraterrestrials with 7 limbs) not only results in deciphering their written language but in her own epiphany – going through transcendental experience, she is given a gift to foresee her future and make life decisions.
Naučna fantastika kao filmski žanr neretko primenjuje strategije minimalizma - u elementima kao što su narativna struktura, odabir planova, pokreti kamere, kompozicija kadra, osvetljenje i boja, kostim i scenografija, i zvučna naracija, primena minimalističkih tehnika svedoči o transcendentalnom stilu, shvaćenom onako kako to navodi Pol Šreder sedamdesetih u svojoj istoimenoj studiji (iako se ona sama ne bavi ovim žanrom). Ontološka pitanja koja postavljaju SF drame kao što su 2001: Odiseja u svemiru Stenlija Kubrika, Solaris Andreja Tarkovskog, Sunce Denija Bojla ili Gravitacija Alfonsa Kuarona, u kojima napetost leži u susretu čoveka i vasione, mikro i makrokosmosa, i transcendiranju ovozemaljske egzistencije, uokviruju i filmski narativ Dolazak kanadskog reditelja Denija Vilneva. On doslednom primenom minimalističkih strategija vodi glavnu junakinju kroz kontakt sa vanzemaljskim bićima u domen transcendentalnog iskustva. Ovaj rad iznosi te strategije koje se u mediju filma naslanjaju na minimalističke postupke autora u likovnim umetnostima (Frenk Stela, Barnet Njumen, Mark Rotko) kao i na postupke minimalizma u muzici kroz dizajn zvuka i originalni soundtrack.
In this paper I shall negotiate repetition of romantic encounters in following contemporary Holyw... more In this paper I shall negotiate repetition of romantic encounters in following contemporary Holywood rom-coms: "High Fidelity", "13 Going On 30", "50 First Dates" and "Eternal Sunshine of the Spotless Mind", as well as their narrative temporality and motives of memory and nostalgia. I shall analyze their convergence of nonlinear narrative structure toward melodrama and film noir through Rick Altman’s semantic/syntax model. I shall also negotiate the aforementioned rom-coms as modern equivalents of “comedies of a remarriage”. In this paper I will negotiate contemporary nonlinear romcom narratives (High Fidelity; 13 Going On 30; 50 First Dates; and radically challenging Eternal Sunshine of the Spotless Mind) - deconstruction of a narrative temporality, motives of memory and nostalgia - in an attempt to demonstrate that contemporary rom-com became considerably hybridized. It’s hybridization happened due to: 1. Converging it’s nonlinear narrative structure toward melodrama and film noir structure which intrinsic specific consists of exploiting memory leitmotif using flashbacks, 2. Disputing the very convention of happyend (i.e. Eternal Sunshine, which possesses some of the rom-com tropes and at the same time a suggestive open ending), 3. Appropriating genre models and conditions of fantasy and science fiction (prominent in 13 Going On 30 as well as in Eternal Sunshine where memory is being literally erased from protagonist’s mind). In addition, I will negotiate the aforementioned rom-coms as modern equivalents of “comedies of a remarriage” (the term coined by Stanley Cavell). Finally, I will incorporate those rom-coms into postmodern romance myth which maintains itself in (eternal) ironic repetition of love encounters and elusive protagonists’ identity.
U ovom radu razmatram nelinearne narative savremenih holivudskih romantičnih komedija (skrać. romkom): "High Fidelity", "Danas 13 sutra 30", "50 prvih poljubaca", kao i radikalni "Večni sjaj besprekornog uma", njihovu dekonstrukciju narativne temporalnosti, motive sećanja i nostalgije, a sve u pokušaju da demonstriram da je savremeni romkom postao umnogome hibridizovan. Hibridizacija ovog žanra dogodila se 1. Konvergencijom njegove nelinearne narativne strukture prema melodrami i žanru film noir čija se osobena struktura sastoji u eksploataciji lajtmotiva sećanja uz upotrebu flešbeka, 2. Problematizovanjem same konvencije happyenda (npr. u slučaju "Večnog sjaja besprekornog uma" koji poseduje neke od tropa karakterističnih za romkom ali istovremeno i sugestivni otvoren kraj), 3. Aproprijacijom žanrovskih modela i uslovnosti fantastike i naučne fantastike (dominantno u ostvarenju Danas 13 sutra 30 kao i u Večnom sjaju besprekornog uma u kojem se sećanje doslovno briše iz uma protagoniste). Koristeći teorijsku platformu Rika Altmana pokazujem da je romantična komedija doživela hibridizaciju i divergenciju žanra kroz semantičko-sintaksnu ravan, te se savremeni romkom pozicionira u preseku sintakse („rečeničnog sklopa“) melodrame i film noira, i semantike (gradivnih jedinica filmske priče) tzv.“otkačene“ komedije, skrubola. Takođe, razmatram i pomenute romkome kao moderne ekvivalente podžanrova kao što su „komedije ponovnog venčanja“ (vođena sintagmom Stenlija Kavela) i „priče o vezama“ (koje je definisao Robert Šamvej). Konačno, inkorporiram ove romkome u mit o postmodernoj romansi koji održava sam sebe u večnoj i ironičnoj repeticiji ljubavnih susreta izazvanoj kontinuiranim osećajem nostalgije, kao žaljenjem za nepovratnošću vremena.
U ovom radu bavimo se dvema filmskim i TV adaptacijama Andrićeve proze: „Anikinim vremenima“ (r.V... more U ovom radu bavimo se dvema filmskim i TV adaptacijama Andrićeve proze: „Anikinim vremenima“ (r.Vladimir Pogačić, 1956) i „Bifeom Titanik“ (r. Emir Kusturica, 1979) kao primerima eksploatacije Bahtinovog hronotopa susreta. Susret protagonista (Anike i Mihajla, odnosno Mente Pape i Stjepana Kovića) definiše sam narativni tok kako književnog dela tako i filmske adaptacije. U oba slučaja susret je fatalan po protagoniste i intonira melodramski motiv kobi, te uspostavlja i sam žanr melodrame. Komparacijom književnog izvornika i filmske adaptacije (bez težnje za evaluacijom i traganjem za „vernošću“ originalu) otkrivamo narativne strategije koja su primenjene u filmskom narativu a kojima se književni hronotop transponuje u filmski. Kao analitičku aparaturu koristimo najpre Bahtinov pojam „dijalogičnosti“ i Ženetov pojam „transtekstualnosti“ značajne za razmatranje problema (književne i filmske) adaptacije, kao i osnovne naratološke odrednice „analepsis“ i „prolepsis“, dok centralni deo zauzima primena Bahtinove teorije romana u kojoj je i uveden pojam hronotopa (kao i hronotopa susreta). Osvrćemo se i na dominantnost kategorije vremena u književnom i filmskom delu „Anikina vremena“ odnosno prostora u delu „Bife Titanik“.
In this paper we shall scrutinize two film and TV adaptations of Ivo Andrić’ literary work: “Times of Anika” directed by Vladimir Pogačić (1956) and “Buffet Titanic” directed by Emir Kusturica (1979), both examples of artistic exploitation of Michael Bakhtin’s concept of chronotope of meeting/encounter. “Times of Anika” narrates love encounter of Anika and Mihajlo in 19th century rural Bosnia, and “Buffet Titanic” narrates fatal encounter of Mento Papo and Stjepan Ković, a Jew and an Ustasha officer in WWII Sarajevo. Those two crucial and most dramatic meetings define and frame the very narrative, both in fiction and in film adaptations. In both cases the encounter proves to be disastrous for all the parties, invoking motif of fate organic to melodrama genre. Comparing literary source to its film adaptation (avoiding evaluation of the faithfulness to the original) we determine narrative strategies through which it was possible to transpose literary chronotope into cinematic one. In terms of analytical apparatus, we initially employ both Bakhtin’s concept of dialogism (his neologism) and Gerard Genette’s concept of transtextuality, in regards to Robert Stam’s elaboration of Bakhtin’s idea of inherent space/time relation, as well as basic narrative terms such as analepis and prolepsis, while central part of the paper elaborates Bakhtin’s theory of the novel in which the concept of chronotope is introduced (as well as the chronotope of meeting). We shall also take into account the dominating category of time and space in literary and cinematic pieces “Times of Anika” and “Buffet Titanic”, respectfully - time becomes identifying category in former and space becomes determinate in latter.
Zbornik radova Fakulteta Dramskih umetnosti , 2009
In this paper "Life and Death of a Porno Gang as a Narrativization of the Quest for the Porno(dys... more In this paper "Life and Death of a Porno Gang as a Narrativization of the Quest for the Porno(dys)topia" (further referenced as "Porno Gang") I attempt to determine theoretical referential frame for interpreting Mladen Đorđević’s aforementioned fiction film. Those references are publication of scholars covering array of Porn studies (such as Linda Williams) as well as literary critics and essayists who were academically interested in pornographic in literature becoming its apologeta (Susan Sontag and Roland Barthes). Scrutinizing this road movie, I position "Porno Gang" not as pornography but as an art film text which uses pornography as a metaphore of dehumanizing society. I also negotiate influences of paradigmatic film text starting with Yugoslav "Black wave", including Živojin Pavlović’s "Kad budem mrtav i beo" (1967), Želimir Žilnik’s "Rani radovi" (1969) and "Marble Ass"(1995), and Dušan Makavejev’s "W.R.: Misterije organizma" (1971) and "Sweet Movie" (1974) emphasizing their docu-fiction manner. I juxtapose those dark overtones of "Black wave" to much lighter jovial John Water’s opus ("Mondo Trasho"; "Pink Flamingos") whose underground trash aesthetics Mladen Đorđević ostensibly elaborates in graphic representation of "Porno Gang". I also observe Đorđević’s homages to NY art films of Andy Warhol and Paul Morrissey, and finally, contemporary Russian cineaste, Alexei Balabanov, whose seminal "Of Freaks and Men" (1998) and "Cargo 200" (2007) re-articulate social criticism and political grotesque of both 19th and 20th fin de siecle. In search of motives of Đorđević’s characters to immerse into an utopia of post-Milošević’s era, I identify inevitable anti-utopian and dystopian both Serbian and Western society which Đorđević articulates through the suffering, bestiality and anticlimax of his stigmatized characters (homosexuals, porn stars and drug addicts) who fail to educate and enlighten Serbian rural people with free sexual expression in social and political provocative manner.
U radu se bavim tematizacijom pornografije u igranom filmu "Život i smrt porno bande" Mladena Đorđevića kao metafore dekadencije i beznađa kako postmiloševićevskog društva tako i Balkana i civilizacije uopšte. Pozicioniram ga kao road movie melodramu, i pronalazim uticaje ključnih autora Crnog talasa (Pavlović, Žilnik, Makavejev) na Đorđevićevu estetiku, kao i omaže Džonu Votersu, EndijuVorholu i Polu Morisiju. Konačno, određujem topos pornodistopije kao društva koje se simbolički koristi pornografskim praksama (sadizma, nekrofilije...) u gušenju ljudskih sloboda.
Filming Belgrade in The Third Millenium: Searching For The (Lost) Identity
Abstract
In this pap... more Filming Belgrade in The Third Millenium: Searching For The (Lost) Identity
Abstract
In this paper I negotiate terms of urbanity and urban in contemporary film narratives, mostly made by directors-newcomers. I will explore those terms as well as the term urbicide which became a neuralgic phaenomenon of the Balkan wars of the 90s, scrutinized both in the writings of Bogdan Bogdanović and Martin Coward, the latter defining urbanity “as an existential condition of plurality or heterogeneity”. Analyzing film representations of Belgrade identity I used theoretical platforms of historians and philosophers such as Andreas Huyssen, Svetlana Boym, Paul Virilio and Fredric Jameson. I posit Belgrade not only as a setting for a melodrama or social drama in transitional period marked by October 5th, 2000 (Here and There by Darko Lungulov) but also as a palimpsest, a memory depot and a place of the feeling of nostalgia (Belgrade Phantom by Jovan Todorović and Montevideo by Dragan Bjelogrlić) . On the other hand, Belgrade becomes a chronotope of urbicide (War Live by Darko Bajić, The Land of Truth, Love and Freedom by Milutin Petrović, Skinning by Stevan Filipović, The Box by Andrijana STojković). Finally, Belgrade is discerned as a point of possible de-balkanization, where the burden of its turbulent history transmutates both into the rediscovered charm and exotics (Practical Guide to Belgrade with Singing and Crying by Bojan Vuletić) and into the fight for the human rights such as controversial Gay Pride (Parade by Srđan Dragojević).
TRAUMA I POSTJUGOSLOVENSKI FILM: NARATIVNE STRATEGIJE/ TRAUMA AND POSTYUGOSLAV CINEMA: NARRATIVE STRATEGIES, 2019
Postjugoslovenski filmovi koji tematizuju rat u Jugoslaviji i njegove posledice predstavljaju med... more Postjugoslovenski filmovi koji tematizuju rat u Jugoslaviji i njegove posledice predstavljaju medije kulturnog pamćenja pri čemu ih posmatramo i kao istorijske filmove u užem smislu, ali budući da se njihovi narativi referišu na stvarni i to traumatski događaj – rat na prostoru bivše Jugoslavije – oni u sebi nose istorijsko pamćenje, te ih možemo sagledati kao posebna mesta sećanja (Pjer Nora) i svojevrsne vizuelne arhive (Jan i Aleida Asman). Postjugoslovenski filmovi producirani u Srbiji, Hrvatskoj, Bosni i Hercegovini i Makedoniji, u svom prefiksu post (koji podrazumeva postmoderni odnos razbijanja master-narativa (Liotar) i odnos prema istoriji uopšte) nose kritički odnos i referencu na jugoslovenski conditio. Izbor postjugoslovenskih ostvarenja su filmski tekstovi nasta(ja)li i producirani u toku i nakon raspada SFRJ koji su referentni za samu temu – dominantno, po načinu konstrukcije nelinearnih narativa i motiva traumatskog sećanja. Hronološki, dakle, prvi filmski tekst koji bi ograničio ovaj raspon nastao je 1994 („Pre kiše“ Milča Mančevskog), a poslednji 2017 („Kada dan nije imao ime“ Teone Strugar Mitevske). Vodilja je, dakle, bio sâm način prezentovanja narativa osim u slučaju gde je u pitanju linearna naracija, a to je „Grbavica“ Jasmile Žbanić, gde je kontinuitet pripovedanja razbijen svedočanstvom protagonistkinje, kao i u slučaju narativa „Zvizdan“ Dalibora Matanića, sačinjenog od tri odeljene priče s vremenskim razmakom od po deset godina. U svim ostalim ostvarenjima u pitanju je nelinearno pripovedanje uz korišćenje narativne tehnike flešbeka, ili pak dokumentarnih inserata koji razbijaju kontinuitet narativa, kao i samo prisustvo referenci na raspad Jugoslavie i intenzitet njegovih posledica. Izbor je formiran tako da bi se mogao doneti reprezentativni kinematografski presek neposredne prošlosti – od autora koji su sazrevali u doba bivše Jugoslavije (Emir Kusturica i Ademir Kenović), preko onih koji su debitovali u vreme početka raspada zemlje (Srđan Dragojević) ili u neposredno postdejtonsko vreme (Vinko Brešan, Gorčin Stojanović i Dejan Zečević), ili pak debituju u doba i dalje aktuelnih sukoba, ali ne tematizujući ih neposredno (Milčo Mančevski), konačno do onih autora koji debituju nakon 2000. (Milutin Petrović, Srdan Golubović, Arsen A.Ostojić, Dalibor Matanić, Zvonimir Jurić, Goran Dević, Kristijan Milić, Jasmin Duraković i Teona Strugar Mitevska) kao i autorke koje tretiraju ekskluzivno žensku optiku (Jasmila Žbanić, Aida Begić i Mirjana Karanović).
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Papers by Vesna Perić
Najpre referišući na pojam Bahtinovog hronotopa, u radu se bavimo analizom pojma „ženskog“ hronotopa kao ženskog prostorvremena u filmskim tekstovima „Snijeg“ Aide Begić i „Čarlston za Ognjenku“ Uroša Stojanovića, koji tematizuju život žena na marginama rata. Donosimo poređenje tradicionalno shvaćenog pojma „ženskog“ vremena (Julija Kristeva) kao cikličnog i nelinearnog, i „muškog“, linearnog vremena, pozicionirajući ženski subjekt van tokova „muškog“ vremena, vremena istorije. Lociramo dva ženska hronotopa (fiktivne topose sela Pokrp u Srbiji i Slavno u Bosni) kao mesta žaljenja, kroz Frojdov pojam procesa tuge/tugovanja/žaljenja, koji ishodište ima u prevladavanju traume usled gubitka voljenih (muškaraca nastradalih u ratu). Narativizovanje gubitka u ovim filmskim tekstovima prepoznajemo kroz ritualne i simboličke radnje kojima se odsutni muškarci prizivaju, a, s druge strane, pronalazimo strategiju prevladavanja traume kroz inverziju rodnih uloga i preuzimanje maskuliniteta (žena postaje aktivni princip i nosilac pogleda [Lora Malvi]). Bahtinov motiv hronotopa susreta u slučaju dva filmska teksta diferenciramo u okviru hronotopa regeneracije (koji predstavlja jedan oblik sugerisanog happy enda u „Snijegu“) odnosno hronotopa degradacije, u „Čarlstonu...“ (Bemon i Borghart).
Abstract: Science fiction as a film genre often employs strategies of minimalism – through elements such as narrative structure, shots, camera angles, camera movement, composition, lighting, color, costume, set design and sound narration, minimalistic technique manifests transcendental style the way Paul Schrader uses this term in his study Transcendental Style in Film: Ozu, Bresson, Dreyer (although it doesn’t cover this genre). This technique involves reduction principle in all possible forms, as well as repetition, abandoning decorative details and expressive techniques, conveying film narrative to a stasis, a point where sparse means collide.
Ontological query posed by SF dramas such as Kubrick’s 2001: A Space Odyssey, Tarkovsky’s Solaris, Danny Boyle’s Sunshine, Alfonso Cuarón’s Gravity, where suspense derives from human’s contact with Universe and from transcendence of earthly existence, also frames the film narrative Arrival directed by Canadian filmmaker Denis Villeneuve. Consistently executing minimalistic strategies, Villeneuve guides female protagonist through contact with extraterrestrial beings into sphere of transcendental experience. This paper interprets those strategies in film medium which follow minimalistic practices of painters and visual artists (Frank Stella, Barnett Newman, Mark Rothko and the likes) as well as techiques of music minimalism through sound design and original soundtrack. The protagonist’s contact with heptapodes (extraterrestrials with 7 limbs) not only results in deciphering their written language but in her own epiphany – going through transcendental experience, she is given a gift to foresee her future and make life decisions.
Naučna fantastika kao filmski žanr neretko primenjuje strategije minimalizma - u elementima kao što su narativna struktura, odabir planova, pokreti kamere, kompozicija kadra, osvetljenje i boja, kostim i scenografija, i zvučna naracija, primena minimalističkih tehnika svedoči o transcendentalnom stilu, shvaćenom onako kako to navodi Pol Šreder sedamdesetih u svojoj istoimenoj studiji (iako se ona sama ne bavi ovim žanrom). Ontološka pitanja koja postavljaju SF drame kao što su 2001: Odiseja u svemiru Stenlija Kubrika, Solaris Andreja Tarkovskog, Sunce Denija Bojla ili Gravitacija Alfonsa Kuarona, u kojima napetost leži u susretu čoveka i vasione, mikro i makrokosmosa, i transcendiranju ovozemaljske egzistencije, uokviruju i filmski narativ Dolazak kanadskog reditelja Denija Vilneva. On doslednom primenom minimalističkih strategija vodi glavnu junakinju kroz kontakt sa vanzemaljskim bićima u domen transcendentalnog iskustva. Ovaj rad iznosi te strategije koje se u mediju filma naslanjaju na minimalističke postupke autora u likovnim umetnostima (Frenk Stela, Barnet Njumen, Mark Rotko) kao i na postupke minimalizma u muzici kroz dizajn zvuka i originalni soundtrack.
U ovom radu razmatram nelinearne narative savremenih holivudskih romantičnih komedija (skrać. romkom): "High Fidelity", "Danas 13 sutra 30", "50 prvih poljubaca", kao i radikalni "Večni sjaj besprekornog uma", njihovu dekonstrukciju narativne temporalnosti, motive sećanja i nostalgije, a sve u pokušaju da demonstriram da je savremeni romkom postao umnogome hibridizovan.
Hibridizacija ovog žanra dogodila se 1. Konvergencijom njegove nelinearne narativne strukture prema melodrami i žanru film noir čija se osobena struktura sastoji u eksploataciji lajtmotiva sećanja uz upotrebu flešbeka, 2. Problematizovanjem same konvencije happyenda (npr. u slučaju "Večnog sjaja besprekornog uma" koji poseduje neke od tropa karakterističnih za romkom ali istovremeno i sugestivni otvoren kraj), 3. Aproprijacijom žanrovskih modela i uslovnosti fantastike i naučne fantastike (dominantno u ostvarenju Danas 13 sutra 30 kao i u Večnom sjaju besprekornog uma u kojem se sećanje doslovno briše iz uma protagoniste). Koristeći teorijsku platformu Rika Altmana pokazujem da je romantična komedija doživela hibridizaciju i divergenciju žanra kroz semantičko-sintaksnu ravan, te se savremeni romkom pozicionira u preseku sintakse („rečeničnog sklopa“) melodrame i film noira, i semantike (gradivnih jedinica filmske priče) tzv.“otkačene“ komedije, skrubola.
Takođe, razmatram i pomenute romkome kao moderne ekvivalente podžanrova kao što su „komedije ponovnog venčanja“ (vođena sintagmom Stenlija Kavela) i „priče o vezama“ (koje je definisao Robert Šamvej). Konačno, inkorporiram ove romkome u mit o postmodernoj romansi koji održava sam sebe u večnoj i ironičnoj repeticiji ljubavnih susreta izazvanoj kontinuiranim osećajem nostalgije, kao žaljenjem za nepovratnošću vremena.
In this paper we shall scrutinize two film and TV adaptations of Ivo Andrić’ literary work: “Times of Anika” directed by Vladimir Pogačić (1956) and “Buffet Titanic” directed by Emir Kusturica (1979), both examples of artistic exploitation of Michael Bakhtin’s concept of chronotope of meeting/encounter. “Times of Anika” narrates love encounter of Anika and Mihajlo in 19th century rural Bosnia, and “Buffet Titanic” narrates fatal encounter of Mento Papo and Stjepan Ković, a Jew and an Ustasha officer in WWII Sarajevo. Those two crucial and most dramatic meetings define and frame the very narrative, both in fiction and in film adaptations. In both cases the encounter proves to be disastrous for all the parties, invoking motif of fate organic to melodrama genre. Comparing literary source to its film adaptation (avoiding evaluation of the faithfulness to the original) we determine narrative strategies through which it was possible to transpose literary chronotope into cinematic one. In terms of analytical apparatus, we initially employ both Bakhtin’s concept of dialogism (his neologism) and Gerard Genette’s concept of transtextuality, in regards to Robert Stam’s elaboration of Bakhtin’s idea of inherent space/time relation, as well as basic narrative terms such as analepis and prolepsis, while central part of the paper elaborates Bakhtin’s theory of the novel in which the concept of chronotope is introduced (as well as the chronotope of meeting). We shall also take into account the dominating category of time and space in literary and cinematic pieces “Times of Anika” and “Buffet Titanic”, respectfully - time becomes identifying category in former and space becomes determinate in latter.
keywords:
pornography, eroticism, hardcore, Yugoslav "Black wave", road movie, utopia/dystopia, trash, camp, snuff, horror, perversion, repression
Abstrakt
U radu se bavim tematizacijom pornografije u igranom filmu "Život i smrt porno bande" Mladena Đorđevića kao metafore dekadencije i beznađa kako postmiloševićevskog društva tako i Balkana i civilizacije uopšte. Pozicioniram ga kao road movie melodramu, i pronalazim uticaje ključnih autora Crnog talasa (Pavlović, Žilnik, Makavejev) na Đorđevićevu estetiku, kao i omaže Džonu Votersu, EndijuVorholu i Polu Morisiju. Konačno, određujem topos pornodistopije kao društva koje se simbolički koristi pornografskim praksama (sadizma, nekrofilije...) u gušenju ljudskih sloboda.
ključne reči:
pornografija, erotizam, jugoslovenski Crni talas, road movie, utopija/distopija, trash, camp, snuff, horor, perverzija.
Abstract
In this paper I negotiate terms of urbanity and urban in contemporary film narratives, mostly made by directors-newcomers. I will explore those terms as well as the term urbicide which became a neuralgic phaenomenon of the Balkan wars of the 90s, scrutinized both in the writings of Bogdan Bogdanović and Martin Coward, the latter defining urbanity “as an existential condition of plurality or heterogeneity”. Analyzing film representations of Belgrade identity I used theoretical platforms of historians and philosophers such as Andreas Huyssen, Svetlana Boym, Paul Virilio and Fredric Jameson.
I posit Belgrade not only as a setting for a melodrama or social drama in transitional period marked by October 5th, 2000 (Here and There by Darko Lungulov) but also as a palimpsest, a memory depot and a place of the feeling of nostalgia (Belgrade Phantom by Jovan Todorović and Montevideo by Dragan Bjelogrlić) . On the other hand, Belgrade becomes a chronotope of urbicide (War Live by Darko Bajić, The Land of Truth, Love and Freedom by Milutin Petrović, Skinning by Stevan Filipović, The Box by Andrijana STojković). Finally, Belgrade is discerned as a point of possible de-balkanization, where the burden of its turbulent history transmutates both into the rediscovered charm and exotics (Practical Guide to Belgrade with Singing and Crying by Bojan Vuletić) and into the fight for the human rights such as controversial Gay Pride (Parade by Srđan Dragojević).
Books by Vesna Perić
Postjugoslovenski filmovi producirani u Srbiji, Hrvatskoj, Bosni i Hercegovini i Makedoniji, u svom prefiksu post (koji podrazumeva postmoderni odnos razbijanja master-narativa (Liotar) i odnos prema istoriji uopšte) nose kritički odnos i referencu na jugoslovenski conditio.
Izbor postjugoslovenskih ostvarenja su filmski tekstovi nasta(ja)li i producirani u toku i nakon raspada SFRJ koji su referentni za samu temu – dominantno, po načinu konstrukcije nelinearnih narativa i motiva traumatskog sećanja. Hronološki, dakle, prvi filmski tekst koji bi ograničio ovaj raspon nastao je 1994 („Pre kiše“ Milča Mančevskog), a poslednji 2017 („Kada dan nije imao ime“ Teone Strugar Mitevske). Vodilja je, dakle, bio sâm način prezentovanja narativa osim u slučaju gde je u pitanju linearna naracija, a to je „Grbavica“ Jasmile Žbanić, gde je kontinuitet pripovedanja razbijen svedočanstvom protagonistkinje, kao i u slučaju narativa „Zvizdan“ Dalibora Matanića, sačinjenog od tri odeljene priče s vremenskim razmakom od po deset godina.
U svim ostalim ostvarenjima u pitanju je nelinearno pripovedanje uz korišćenje narativne tehnike flešbeka, ili pak dokumentarnih inserata koji razbijaju kontinuitet narativa, kao i samo prisustvo referenci na raspad Jugoslavie i intenzitet njegovih posledica. Izbor je formiran tako da bi se mogao doneti reprezentativni kinematografski presek neposredne prošlosti – od autora koji su sazrevali u doba bivše Jugoslavije (Emir Kusturica i Ademir Kenović), preko onih koji su debitovali u vreme početka raspada zemlje (Srđan Dragojević) ili u neposredno postdejtonsko vreme (Vinko Brešan, Gorčin Stojanović i Dejan Zečević), ili pak debituju u doba i dalje aktuelnih sukoba, ali ne tematizujući ih neposredno (Milčo Mančevski), konačno do onih autora koji debituju nakon 2000. (Milutin Petrović, Srdan Golubović, Arsen A.Ostojić, Dalibor Matanić, Zvonimir Jurić, Goran Dević, Kristijan Milić, Jasmin Duraković i Teona Strugar Mitevska) kao i autorke koje tretiraju ekskluzivno žensku optiku (Jasmila Žbanić, Aida Begić i Mirjana Karanović).
Najpre referišući na pojam Bahtinovog hronotopa, u radu se bavimo analizom pojma „ženskog“ hronotopa kao ženskog prostorvremena u filmskim tekstovima „Snijeg“ Aide Begić i „Čarlston za Ognjenku“ Uroša Stojanovića, koji tematizuju život žena na marginama rata. Donosimo poređenje tradicionalno shvaćenog pojma „ženskog“ vremena (Julija Kristeva) kao cikličnog i nelinearnog, i „muškog“, linearnog vremena, pozicionirajući ženski subjekt van tokova „muškog“ vremena, vremena istorije. Lociramo dva ženska hronotopa (fiktivne topose sela Pokrp u Srbiji i Slavno u Bosni) kao mesta žaljenja, kroz Frojdov pojam procesa tuge/tugovanja/žaljenja, koji ishodište ima u prevladavanju traume usled gubitka voljenih (muškaraca nastradalih u ratu). Narativizovanje gubitka u ovim filmskim tekstovima prepoznajemo kroz ritualne i simboličke radnje kojima se odsutni muškarci prizivaju, a, s druge strane, pronalazimo strategiju prevladavanja traume kroz inverziju rodnih uloga i preuzimanje maskuliniteta (žena postaje aktivni princip i nosilac pogleda [Lora Malvi]). Bahtinov motiv hronotopa susreta u slučaju dva filmska teksta diferenciramo u okviru hronotopa regeneracije (koji predstavlja jedan oblik sugerisanog happy enda u „Snijegu“) odnosno hronotopa degradacije, u „Čarlstonu...“ (Bemon i Borghart).
Abstract: Science fiction as a film genre often employs strategies of minimalism – through elements such as narrative structure, shots, camera angles, camera movement, composition, lighting, color, costume, set design and sound narration, minimalistic technique manifests transcendental style the way Paul Schrader uses this term in his study Transcendental Style in Film: Ozu, Bresson, Dreyer (although it doesn’t cover this genre). This technique involves reduction principle in all possible forms, as well as repetition, abandoning decorative details and expressive techniques, conveying film narrative to a stasis, a point where sparse means collide.
Ontological query posed by SF dramas such as Kubrick’s 2001: A Space Odyssey, Tarkovsky’s Solaris, Danny Boyle’s Sunshine, Alfonso Cuarón’s Gravity, where suspense derives from human’s contact with Universe and from transcendence of earthly existence, also frames the film narrative Arrival directed by Canadian filmmaker Denis Villeneuve. Consistently executing minimalistic strategies, Villeneuve guides female protagonist through contact with extraterrestrial beings into sphere of transcendental experience. This paper interprets those strategies in film medium which follow minimalistic practices of painters and visual artists (Frank Stella, Barnett Newman, Mark Rothko and the likes) as well as techiques of music minimalism through sound design and original soundtrack. The protagonist’s contact with heptapodes (extraterrestrials with 7 limbs) not only results in deciphering their written language but in her own epiphany – going through transcendental experience, she is given a gift to foresee her future and make life decisions.
Naučna fantastika kao filmski žanr neretko primenjuje strategije minimalizma - u elementima kao što su narativna struktura, odabir planova, pokreti kamere, kompozicija kadra, osvetljenje i boja, kostim i scenografija, i zvučna naracija, primena minimalističkih tehnika svedoči o transcendentalnom stilu, shvaćenom onako kako to navodi Pol Šreder sedamdesetih u svojoj istoimenoj studiji (iako se ona sama ne bavi ovim žanrom). Ontološka pitanja koja postavljaju SF drame kao što su 2001: Odiseja u svemiru Stenlija Kubrika, Solaris Andreja Tarkovskog, Sunce Denija Bojla ili Gravitacija Alfonsa Kuarona, u kojima napetost leži u susretu čoveka i vasione, mikro i makrokosmosa, i transcendiranju ovozemaljske egzistencije, uokviruju i filmski narativ Dolazak kanadskog reditelja Denija Vilneva. On doslednom primenom minimalističkih strategija vodi glavnu junakinju kroz kontakt sa vanzemaljskim bićima u domen transcendentalnog iskustva. Ovaj rad iznosi te strategije koje se u mediju filma naslanjaju na minimalističke postupke autora u likovnim umetnostima (Frenk Stela, Barnet Njumen, Mark Rotko) kao i na postupke minimalizma u muzici kroz dizajn zvuka i originalni soundtrack.
U ovom radu razmatram nelinearne narative savremenih holivudskih romantičnih komedija (skrać. romkom): "High Fidelity", "Danas 13 sutra 30", "50 prvih poljubaca", kao i radikalni "Večni sjaj besprekornog uma", njihovu dekonstrukciju narativne temporalnosti, motive sećanja i nostalgije, a sve u pokušaju da demonstriram da je savremeni romkom postao umnogome hibridizovan.
Hibridizacija ovog žanra dogodila se 1. Konvergencijom njegove nelinearne narativne strukture prema melodrami i žanru film noir čija se osobena struktura sastoji u eksploataciji lajtmotiva sećanja uz upotrebu flešbeka, 2. Problematizovanjem same konvencije happyenda (npr. u slučaju "Večnog sjaja besprekornog uma" koji poseduje neke od tropa karakterističnih za romkom ali istovremeno i sugestivni otvoren kraj), 3. Aproprijacijom žanrovskih modela i uslovnosti fantastike i naučne fantastike (dominantno u ostvarenju Danas 13 sutra 30 kao i u Večnom sjaju besprekornog uma u kojem se sećanje doslovno briše iz uma protagoniste). Koristeći teorijsku platformu Rika Altmana pokazujem da je romantična komedija doživela hibridizaciju i divergenciju žanra kroz semantičko-sintaksnu ravan, te se savremeni romkom pozicionira u preseku sintakse („rečeničnog sklopa“) melodrame i film noira, i semantike (gradivnih jedinica filmske priče) tzv.“otkačene“ komedije, skrubola.
Takođe, razmatram i pomenute romkome kao moderne ekvivalente podžanrova kao što su „komedije ponovnog venčanja“ (vođena sintagmom Stenlija Kavela) i „priče o vezama“ (koje je definisao Robert Šamvej). Konačno, inkorporiram ove romkome u mit o postmodernoj romansi koji održava sam sebe u večnoj i ironičnoj repeticiji ljubavnih susreta izazvanoj kontinuiranim osećajem nostalgije, kao žaljenjem za nepovratnošću vremena.
In this paper we shall scrutinize two film and TV adaptations of Ivo Andrić’ literary work: “Times of Anika” directed by Vladimir Pogačić (1956) and “Buffet Titanic” directed by Emir Kusturica (1979), both examples of artistic exploitation of Michael Bakhtin’s concept of chronotope of meeting/encounter. “Times of Anika” narrates love encounter of Anika and Mihajlo in 19th century rural Bosnia, and “Buffet Titanic” narrates fatal encounter of Mento Papo and Stjepan Ković, a Jew and an Ustasha officer in WWII Sarajevo. Those two crucial and most dramatic meetings define and frame the very narrative, both in fiction and in film adaptations. In both cases the encounter proves to be disastrous for all the parties, invoking motif of fate organic to melodrama genre. Comparing literary source to its film adaptation (avoiding evaluation of the faithfulness to the original) we determine narrative strategies through which it was possible to transpose literary chronotope into cinematic one. In terms of analytical apparatus, we initially employ both Bakhtin’s concept of dialogism (his neologism) and Gerard Genette’s concept of transtextuality, in regards to Robert Stam’s elaboration of Bakhtin’s idea of inherent space/time relation, as well as basic narrative terms such as analepis and prolepsis, while central part of the paper elaborates Bakhtin’s theory of the novel in which the concept of chronotope is introduced (as well as the chronotope of meeting). We shall also take into account the dominating category of time and space in literary and cinematic pieces “Times of Anika” and “Buffet Titanic”, respectfully - time becomes identifying category in former and space becomes determinate in latter.
keywords:
pornography, eroticism, hardcore, Yugoslav "Black wave", road movie, utopia/dystopia, trash, camp, snuff, horror, perversion, repression
Abstrakt
U radu se bavim tematizacijom pornografije u igranom filmu "Život i smrt porno bande" Mladena Đorđevića kao metafore dekadencije i beznađa kako postmiloševićevskog društva tako i Balkana i civilizacije uopšte. Pozicioniram ga kao road movie melodramu, i pronalazim uticaje ključnih autora Crnog talasa (Pavlović, Žilnik, Makavejev) na Đorđevićevu estetiku, kao i omaže Džonu Votersu, EndijuVorholu i Polu Morisiju. Konačno, određujem topos pornodistopije kao društva koje se simbolički koristi pornografskim praksama (sadizma, nekrofilije...) u gušenju ljudskih sloboda.
ključne reči:
pornografija, erotizam, jugoslovenski Crni talas, road movie, utopija/distopija, trash, camp, snuff, horor, perverzija.
Abstract
In this paper I negotiate terms of urbanity and urban in contemporary film narratives, mostly made by directors-newcomers. I will explore those terms as well as the term urbicide which became a neuralgic phaenomenon of the Balkan wars of the 90s, scrutinized both in the writings of Bogdan Bogdanović and Martin Coward, the latter defining urbanity “as an existential condition of plurality or heterogeneity”. Analyzing film representations of Belgrade identity I used theoretical platforms of historians and philosophers such as Andreas Huyssen, Svetlana Boym, Paul Virilio and Fredric Jameson.
I posit Belgrade not only as a setting for a melodrama or social drama in transitional period marked by October 5th, 2000 (Here and There by Darko Lungulov) but also as a palimpsest, a memory depot and a place of the feeling of nostalgia (Belgrade Phantom by Jovan Todorović and Montevideo by Dragan Bjelogrlić) . On the other hand, Belgrade becomes a chronotope of urbicide (War Live by Darko Bajić, The Land of Truth, Love and Freedom by Milutin Petrović, Skinning by Stevan Filipović, The Box by Andrijana STojković). Finally, Belgrade is discerned as a point of possible de-balkanization, where the burden of its turbulent history transmutates both into the rediscovered charm and exotics (Practical Guide to Belgrade with Singing and Crying by Bojan Vuletić) and into the fight for the human rights such as controversial Gay Pride (Parade by Srđan Dragojević).
Postjugoslovenski filmovi producirani u Srbiji, Hrvatskoj, Bosni i Hercegovini i Makedoniji, u svom prefiksu post (koji podrazumeva postmoderni odnos razbijanja master-narativa (Liotar) i odnos prema istoriji uopšte) nose kritički odnos i referencu na jugoslovenski conditio.
Izbor postjugoslovenskih ostvarenja su filmski tekstovi nasta(ja)li i producirani u toku i nakon raspada SFRJ koji su referentni za samu temu – dominantno, po načinu konstrukcije nelinearnih narativa i motiva traumatskog sećanja. Hronološki, dakle, prvi filmski tekst koji bi ograničio ovaj raspon nastao je 1994 („Pre kiše“ Milča Mančevskog), a poslednji 2017 („Kada dan nije imao ime“ Teone Strugar Mitevske). Vodilja je, dakle, bio sâm način prezentovanja narativa osim u slučaju gde je u pitanju linearna naracija, a to je „Grbavica“ Jasmile Žbanić, gde je kontinuitet pripovedanja razbijen svedočanstvom protagonistkinje, kao i u slučaju narativa „Zvizdan“ Dalibora Matanića, sačinjenog od tri odeljene priče s vremenskim razmakom od po deset godina.
U svim ostalim ostvarenjima u pitanju je nelinearno pripovedanje uz korišćenje narativne tehnike flešbeka, ili pak dokumentarnih inserata koji razbijaju kontinuitet narativa, kao i samo prisustvo referenci na raspad Jugoslavie i intenzitet njegovih posledica. Izbor je formiran tako da bi se mogao doneti reprezentativni kinematografski presek neposredne prošlosti – od autora koji su sazrevali u doba bivše Jugoslavije (Emir Kusturica i Ademir Kenović), preko onih koji su debitovali u vreme početka raspada zemlje (Srđan Dragojević) ili u neposredno postdejtonsko vreme (Vinko Brešan, Gorčin Stojanović i Dejan Zečević), ili pak debituju u doba i dalje aktuelnih sukoba, ali ne tematizujući ih neposredno (Milčo Mančevski), konačno do onih autora koji debituju nakon 2000. (Milutin Petrović, Srdan Golubović, Arsen A.Ostojić, Dalibor Matanić, Zvonimir Jurić, Goran Dević, Kristijan Milić, Jasmin Duraković i Teona Strugar Mitevska) kao i autorke koje tretiraju ekskluzivno žensku optiku (Jasmila Žbanić, Aida Begić i Mirjana Karanović).