Majka Katina među Markosovim partizanima ili film koji nije postojao
Majka Katina among Markos's partisans or the film that never existed
Апстракт
Na primeru jugoslovenskog igranog filma 'Majka Katina', snimanog 1948-1949. godine, po scenariju Oskara Daviča, u režiji Nikole Popovića, posvećenog borbi grčkih komunista u građanskom ratu koji je vođen u Grčkoj 1946-1949, praćen je onos ideologije, politike i filmske umetnosti prvih godina posle Drugog svetskog rata. Film, snimljen po kanonu 'socijalističkog realizma', kao jasna propagandna poruka, zbog sukoba oko Informbiroa nikada nije dospeo pred publiku. Postao je jedna od 'kolateralnih žrtava' promenjenih političkih okolnosti i kao propagandno neadekvatan završio u 'bunkeru'.
The complexity and ambivalence of the Yugoslav attitude towards the Greece during the period of the Civil War was deeply influenced by the fact that Yugoslav Communists saw dramatic events in the southern neighborhood as a continuation of the revolutionary processes which they had started and finished by seizing the power. Their active policy toward the Greek crisis was at the same understood as 'internationalist obligation' which required different ways of active, material and political support to the Greek communist movement. One of these activities was broad and diverse propaganda, which included division between 'Good Greeks' and 'Bad Greeks' in the Yugoslav satirical magazines. But, the most ambitious propaganda project was realized 1948 - shooting the film with the title Mother Katina. The script was based on the one other broadly distributed product of pro-Greek Democratic Army and KKE Yugoslav propaganda/the book of the writer and publicist Oskar Davičo, 'With the General Mark...os' Partisans', published in1947 in Serbo-Croat and other South Slav languages but also in English, Russian and French and distributed in foreign countries through Yugoslav diplomatic channels. The film about the 'typical Greek mother' and her sons, dedicated to the struggle against 'monarchofascists' and their 'imperialist masters' offer a broad possibilities for analysis of the esthetic and ideological contents. Authors, producer Nikola Popovic and screenwriter O. Davico have extremely simplified the images of the ideologicaly and politically divided and hostile 'worlds' transformed almost in the ideological symbols: 'good Greeks' - members and supporters of the anti-government leftist movement and their enemies In the history of Yugoslav cinematography this film, perhaps represented pure social realism. However, it was never presented to the public. After the split with Moscow, glorification of Greek communists in the film was a reason why this expensive and ambitious project was doomed to sink into oblivion and was forgotten for five decades.
Кључне речи:
socijalistički realizam / Jugoslavija / Informbiro / Građanski rat u Grčkoj / filmИзвор:
Godišnjak za društvenu istoriju, 2010, 17, 2, 7-21Издавач:
- Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd
Институција/група
Istorija / HistoryTY - JOUR AU - Ristović, Milan PY - 2010 UR - http://reff.f.bg.ac.rs/handle/123456789/1039 AB - Na primeru jugoslovenskog igranog filma 'Majka Katina', snimanog 1948-1949. godine, po scenariju Oskara Daviča, u režiji Nikole Popovića, posvećenog borbi grčkih komunista u građanskom ratu koji je vođen u Grčkoj 1946-1949, praćen je onos ideologije, politike i filmske umetnosti prvih godina posle Drugog svetskog rata. Film, snimljen po kanonu 'socijalističkog realizma', kao jasna propagandna poruka, zbog sukoba oko Informbiroa nikada nije dospeo pred publiku. Postao je jedna od 'kolateralnih žrtava' promenjenih političkih okolnosti i kao propagandno neadekvatan završio u 'bunkeru'. AB - The complexity and ambivalence of the Yugoslav attitude towards the Greece during the period of the Civil War was deeply influenced by the fact that Yugoslav Communists saw dramatic events in the southern neighborhood as a continuation of the revolutionary processes which they had started and finished by seizing the power. Their active policy toward the Greek crisis was at the same understood as 'internationalist obligation' which required different ways of active, material and political support to the Greek communist movement. One of these activities was broad and diverse propaganda, which included division between 'Good Greeks' and 'Bad Greeks' in the Yugoslav satirical magazines. But, the most ambitious propaganda project was realized 1948 - shooting the film with the title Mother Katina. The script was based on the one other broadly distributed product of pro-Greek Democratic Army and KKE Yugoslav propaganda/the book of the writer and publicist Oskar Davičo, 'With the General Markos' Partisans', published in1947 in Serbo-Croat and other South Slav languages but also in English, Russian and French and distributed in foreign countries through Yugoslav diplomatic channels. The film about the 'typical Greek mother' and her sons, dedicated to the struggle against 'monarchofascists' and their 'imperialist masters' offer a broad possibilities for analysis of the esthetic and ideological contents. Authors, producer Nikola Popovic and screenwriter O. Davico have extremely simplified the images of the ideologicaly and politically divided and hostile 'worlds' transformed almost in the ideological symbols: 'good Greeks' - members and supporters of the anti-government leftist movement and their enemies In the history of Yugoslav cinematography this film, perhaps represented pure social realism. However, it was never presented to the public. After the split with Moscow, glorification of Greek communists in the film was a reason why this expensive and ambitious project was doomed to sink into oblivion and was forgotten for five decades. PB - Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd T2 - Godišnjak za društvenu istoriju T1 - Majka Katina među Markosovim partizanima ili film koji nije postojao T1 - Majka Katina among Markos's partisans or the film that never existed EP - 21 IS - 2 SP - 7 VL - 17 UR - https://hdl.handle.net/21.15107/rcub_reff_1039 ER -
@article{ author = "Ristović, Milan", year = "2010", abstract = "Na primeru jugoslovenskog igranog filma 'Majka Katina', snimanog 1948-1949. godine, po scenariju Oskara Daviča, u režiji Nikole Popovića, posvećenog borbi grčkih komunista u građanskom ratu koji je vođen u Grčkoj 1946-1949, praćen je onos ideologije, politike i filmske umetnosti prvih godina posle Drugog svetskog rata. Film, snimljen po kanonu 'socijalističkog realizma', kao jasna propagandna poruka, zbog sukoba oko Informbiroa nikada nije dospeo pred publiku. Postao je jedna od 'kolateralnih žrtava' promenjenih političkih okolnosti i kao propagandno neadekvatan završio u 'bunkeru'., The complexity and ambivalence of the Yugoslav attitude towards the Greece during the period of the Civil War was deeply influenced by the fact that Yugoslav Communists saw dramatic events in the southern neighborhood as a continuation of the revolutionary processes which they had started and finished by seizing the power. Their active policy toward the Greek crisis was at the same understood as 'internationalist obligation' which required different ways of active, material and political support to the Greek communist movement. One of these activities was broad and diverse propaganda, which included division between 'Good Greeks' and 'Bad Greeks' in the Yugoslav satirical magazines. But, the most ambitious propaganda project was realized 1948 - shooting the film with the title Mother Katina. The script was based on the one other broadly distributed product of pro-Greek Democratic Army and KKE Yugoslav propaganda/the book of the writer and publicist Oskar Davičo, 'With the General Markos' Partisans', published in1947 in Serbo-Croat and other South Slav languages but also in English, Russian and French and distributed in foreign countries through Yugoslav diplomatic channels. The film about the 'typical Greek mother' and her sons, dedicated to the struggle against 'monarchofascists' and their 'imperialist masters' offer a broad possibilities for analysis of the esthetic and ideological contents. Authors, producer Nikola Popovic and screenwriter O. Davico have extremely simplified the images of the ideologicaly and politically divided and hostile 'worlds' transformed almost in the ideological symbols: 'good Greeks' - members and supporters of the anti-government leftist movement and their enemies In the history of Yugoslav cinematography this film, perhaps represented pure social realism. However, it was never presented to the public. After the split with Moscow, glorification of Greek communists in the film was a reason why this expensive and ambitious project was doomed to sink into oblivion and was forgotten for five decades.", publisher = "Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd", journal = "Godišnjak za društvenu istoriju", title = "Majka Katina među Markosovim partizanima ili film koji nije postojao, Majka Katina among Markos's partisans or the film that never existed", pages = "21-7", number = "2", volume = "17", url = "https://hdl.handle.net/21.15107/rcub_reff_1039" }
Ristović, M.. (2010). Majka Katina među Markosovim partizanima ili film koji nije postojao. in Godišnjak za društvenu istoriju Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd., 17(2), 7-21. https://hdl.handle.net/21.15107/rcub_reff_1039
Ristović M. Majka Katina među Markosovim partizanima ili film koji nije postojao. in Godišnjak za društvenu istoriju. 2010;17(2):7-21. https://hdl.handle.net/21.15107/rcub_reff_1039 .
Ristović, Milan, "Majka Katina među Markosovim partizanima ili film koji nije postojao" in Godišnjak za društvenu istoriju, 17, no. 2 (2010):7-21, https://hdl.handle.net/21.15107/rcub_reff_1039 .