Partizanski versus "postpartizanski" film

Abstract

Glavna ideja rada jeste da ukaže na to kako društvene okolnosti mogu uticati na filmski medij. Kao primer izabran je ratni film, kao onaj filmski žanr koji je posebno „podložan” različitim društvenim uticajima. Konkretna analiza baviće se sličnostima i razlikama partizanskih i „postpartizanskih” filmova. Kao osnova za poređenje ove dve vrste filmova uzeta su tri nivoa za koja se smatra da imaju posebnu važnost i težinu kada je u pitanju filmsko predstavljanje rata. Reč je o vizuelnom prikazu sukoba, slici neprijatelja i slici sopstvene vojske. Najpre će se objasniti kako je rat predstavljen u jednoj, a kako u drugoj grupi filmova, da bi se zatim ta predstava pokušala objasniti s obzirom na društveni kontekst u kom su filmovi nastajali.

The main idea of the paper is to point out how social circumstances can affect on the film medium. As an example was chosen a war film, because that film genre was particularly „subjected” to various social influences. Analysis dealt with similarities and differences between Partisan films from the cinematography of socialist Yugoslavia and „Postpartisan” films from the 1990’s produced in ex-Yugoslav countries. As a basis for comparing these two types of films, three levels was choosen since they have special importance and weight when it comes to showing the war on film. These levels are a visual display of the conflict, the image of the enemy and the image of one’s own army. Firstly, we explained how the war was presented in Partisan and „Postpartisan” films, and then we try to explain that representation in light of the social context in which the films were produced. Analysis showed crucial differences between Partisan and „Postpartisan” films in one important acpect – the visual display of the conflict. The monumental display of the conflicts in Partisan films directly corresponded to the ideological significance that the Second World War had for Yugoslav communists. In contrast, the reduced and „unattractive” display of war in „Postpartisan” films can be seen as a consequence of the huge economic crisis that, along with the collapse of socialist Yugoslavia, captured the entire post-Yugoslav space. Also, it should not be ignored the influence of the dominant ideology in which it was emphasized that „we” are the victims of external aggression and that „ we” did not even participate in the war at all. Apart from the difference, certain similarities between Partisan and „Postpartisan” films were observed. Similarities are especially expressed in the representation of enemies between Partisan and „Postpartisan” films from Croatia. It can be said that the image of the enemies in Croatian films was largely influenced by the Chetnik iconography that is characteristic of partisan films. Similarity with Partisan films is also characteristic for „Postpartisan” films from Serbia, in the affirmative representation of their own army. The most similarities between Partisan and „Postpartisan” films can be seen in the maritrological patterns, which is understandable because of the universalistic character of the figure of the victim.