The Yugoslav black wave cinema of the sixties and the seventies is among the grand, although hidden, chapters of cinema historical past. proficient younger authors, operating less than the signal of person expression and aesthetic experimentation, driven and explored the bounds of the restrictions of a socialist kingdom. Their efforts bring about a brand new course of visible expression, so remarkable via its social and political engagement, its formal invention and its courage.
This ebook is the results of a multi-disciplinary study trying to move over politics, philosophy, layout, artwork, structure, and a few speculative considering. ranging from archival paintings, interviews, seminars, screenings and a convention, browsing the Black has discovered its (temporary) end in a ebook such as six theoretical essays and 3 fanzines that open up the black wave movie adventure to present affairs. this can be Yugoslavia, and sleek cinema, at its blackest and brightest.
With six theoretical essays (by Boris Buden, Pavle Levi and Owen Hatherly, between others) and fanzines comprising an interview with probably the most vital Yugoslav filmmakers, Želimir Žilnik, and a accomplished thesaurus of phrases that belong to the interval and box of Yugoslav tradition and politics, this can be the 1st ebook at the topic within the English-speaking international.
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Extra info for Surfing the Black: Yugoslav Black Wave Cinema and Its Transgressive Moments
Actually, they were like a battleﬁeld on which two major tendencies of interpretation of the People’s Liberation Struggle (PLS) were ﬁghting for domination. However, what was at stake in that battle was not necessarily related to my generation. For us, this postStalinist ‘creativity’ brought along some signiﬁcant advantages such as the openness of the country, economic growth, mobility of many of our experts and companies who would at the time travel the globe creating large engineering feats such as the large dams in Africa as well as setting up ﬁlm infrastructure in the newly liberated territories of Africa and Asia.
Mysteries of the Organism". The premiere of that ﬁlm provoked another "gathering of the conscious cadres", and on the public debate, organised by the same politicians, that ﬁlm was "sentenced" to a bunker for ten years which effectively meant it was impossible to screen it in Novi Sad nor in any other place in Yugoslavia. However, as the ﬁlm was co-produced by Bavarian television, it was successfully shown abroad, ﬁrst, in Cannes in 1971 and then on other festivals and cinemas in the world. Neoplantas director Svetozar Udovički was sacked, and Draško Ređep was appointed in his place.
Such activities emerged and developed quite independently of each other, though they soon merged along a common artistic mentality, based mainly on the opposition to traditional and institutionalized forms of art and its presentation, founding its bases in the Student Cultural Centres both in Belgrade and in Zagreb. 24 New Art Practice was introduced by the Croatian art critic Marijan Susovski in the homonymous catalogue The New Art Practice in Yugoslavia 1966-1978, Gallery of Contemporary Art Zagreb, 1978.