By Vlastimir Sudar
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Additional info for A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic
Notes 1 Petar Volk, Istorija jugoslovenskog filma (Beograd: Institut za Film, Partizanska knjiga, 1986), pp. 1–2. 2 This was actually on 25 May 1896, because the “old” Julian calendar was then in use in Serbia (as in Tsarist Russia), and according to that calendar it was on 6 June, see: Dejan 33 A Portrait of the Artist as a Political Dissident 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Kosanović, “Sto godina filma u Srbiji”, in Filma Vek 1895–1995, ed. by Dejan Kosanović (Beograd: Jugoslovenska Kinoteka, SANU, 1995), p.
3. 1. The Belgrade Circle of Critics As Aleksandar Petrović found himself out of work in 1950, his passion for film manifested itself in writing and publishing articles about it. These articles demonstrate a keen interest 29 A Portrait of the Artist as a Political Dissident in the theory of cinema, as exemplified by Style and Audacity from 1951, mentioned earlier. 168 One of them on Legends of Anika (Anikina vremena by Vladimir Pogačić, 1954) was highlighted by a Belgrade scholar, Svetlana Bezdanov Gostimir (who wrote a critical history of Yugoslav film criticism in 1993), as “the most complete analysis of this film”.
3. 159 It is for this reason that the young film trainees such as Aleksandar Petrović were so easily recruited, as the studio expected to instigate production on a large scale immediately. 160 As a 28 Beginnings result, in 1950, changes in the organisation of production ensued, and Petrović and the other young filmmakers, who had been so easily employed the previous year, lost their jobs. Still, fortunately for them, workers were not just “laid off ” under socialism, but a new arrangement was conceived.
A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic by Vlastimir Sudar