The Birch Tree (1967), directed by Ante Babaja, is one of the most outstanding achievements of Croatian film modernism. It touches on the problem of rural life, which is unusual for film modernism. The work is inspired by Slavko Kolar’s rural prose, naive paintings by artists from Hlebine and north Croatian folk rites and songs. In this film, Babaja presents a naturalistic interpretation of rural existence, where the human spirit is stifled by dull material and inert nature. The Birch Tree is also an example of a film Gesamtkunstwerk that combines not only the elements of various arts (painting, literature, music, theatre), but also two historical-cultural models of artistic creation: the modernist and the folk.
PL
The Birch Tree (1967), directed by Ante Babaja, is one of the most outstanding achievements of Croatian film modernism. It touches on the problem of rural life, which is unusual for film modernism. The work is inspired by Slavko Kolar’s rural prose, naive paintings by artists from Hlebine and north Croatian folk rites and songs. In this film, Babaja presents a naturalistic interpretation of rural existence, where the human spirit is stifled by dull material and inert nature. The Birch Tree is also an example of a film Gesamtkunstwerk that combines not only the elements of various arts (painting, literature, music, theatre), but also two historical-cultural models of artistic creation: the modernist and the folk.
The focus on the structural and semantic role of time is one of the key features of modernist cinema in the period after the Second World War. Modernist filmmakers experiment with means of aesthetic expression, such as montage, mise-en-scène, camera work, which define the story time and consequently make time the subject of film story. Concert (1954) directed by Branko Belan initiates the modernist experiment with time in the Croatian feature film. Belan achieves a radical temporal discontinuity and the condensation of time thanks to extensive ellipses, expanded flashback, deep space composition, variable narrative perspective, variable position of the characters in the story and genre hybridity. In this way he specifies two dimensions of time – historical and personal. In Concert historical time does not always affect personal time that can be subjected to fate. By that means the director contests the communist belief in the positive impact of historical changes on the life of an individual.
The purpose of this paper was to examine the verbal expression of anger in Croatian comedy films and also to find textual and prosodic elements that provoke the viewer’s exhilaration. On the textual level analysis includes elements with which anger causes exhilaration and shows that such anger most often expresses superiority and is also unexpected which often occurs as a result of exaggeration. Due to the specific genre of comedy, i.e. its guaranteed lack of seriousness, the viewers are not aware of high presence of anger in film comedies. Comedy requires a different insight to life situations and a reinterpretation that leads to pleasant emotions.
EN
The purpose of this paper was to examine the verbal expression of anger in Croatian comedy films and also to find textual and prosodic elements that provoke the viewer’s exhilaration. On the textual level analysis includes elements with which anger causes exhilaration and shows that such anger most often expresses superiority and is also unexpected which often occurs as a result of exaggeration. Due to the specific genre of comedy, i.e. its guaranteed lack of seriousness, the viewers are not aware of high presence of anger in film comedies. Comedy requires a different insight to life situations and a reinterpretation that leads to pleasant emotions.
The paper demonstrates the prominence of network narratives (films with several autonomous storylines, globally popular since the mid-1990s) in post-Yugoslav, particularly Croatian, cinema, with examples such as Metastases (2009), The Reaper (2014), You Carry Me (2015), The Constitution (2016), The Trampoline (2017), etc. Unlike network narratives elsewhere, these films often thematize history, with parallel stories typically set during World War II and the Yugoslav Wars of the 1990s. This has been said to suggest as a circular, synchronic vision of history, a “transhistorical dance macabre” as a leitmotif of Balkan cinema. The films Witnesses (2003) and The High Sun (2015), together with a group of multi-narrative plays, i.e. The Last Link (1994), 3 Winters (2014) and Men of Wax (2016), are analysed as vehicles of counter-memory to such self-Balkanizing representations.
The Croatian film Occupation in 26 pictures (1978), directed by Lordan Zafranović is considered as one of the most controversial vision of the Second World War in Yugoslav cinema. The director uses the ornamental style, modeled on Italian cinema, to portray the change of power in Dubrovnik in 1941 – at the beginning of the fascist occupation of the city. He juxtaposes the licentiousness of Italian, German and Croatian fascists and the fall of the Dubrovnik aristocracy and the rebellion of communists. The political changes in the city are presented against the background of its rich cultural tradition. Zafranović highlights the beauty of Dubrovnik’s architectural and natural landscape that fascists desecrate. Decadent poetics with its aesthetic excess allows him to refresh and deepen the communist interpretation of the fascist occupation.
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