Pub Date : 2021-12-20DOI: 10.1080/2040350X.2021.2008200
M. Radović
Abstract Velimir Bata Živojinović boasts a body of work which traverses 350 motion pictures from Classical Yugoslav Cinema over The New Film to Contemporary Serbian Cinema, historical epic to film noir, family comedy to radical avant-garde. A legendary actor and one of the most significant personalities of Yugoslav cinema, he is best remembered as the archetypal hero of the Partisan film. This research examines the ways in which Živojinović’s popular figure was constructed through the genre of the war film and the brand of Partisan film distinct to Yugoslavia. By situating Živojinović’s star image in the context of his oeuvre, defining Partisan aesthetics and closely analysing three different periods in the actor’s career, with respect to the films which are central in developing his image as the archetypal hero, namely Kozara (Veljko Bulajić 1962), Valter brani Sarajevo/Walter Defends Sarajevo (Hajrudin Krvavac 1972), and Lepa sela lepo gore/Pretty Village, Pretty Flame (Srđan Dragojević 1996), I demonstrate how the indestructible partisan figure embodied by Velimir Bata Živojinović was established in on-screen cinematic space, and how this figure continued to develop, transform, and evolve across films, and, finally, through off-screen public space.
Velimir Bata Živojinović拥有350部电影作品，从古典南斯拉夫电影到新电影到当代塞尔维亚电影，从历史史诗到黑色电影，从家庭喜剧到激进前卫电影。他是一位传奇演员，也是南斯拉夫电影界最重要的人物之一，他作为《游击队》电影的原型英雄而被人们铭记。本研究考察了Živojinović的大众形象是如何通过战争电影的类型和南斯拉夫特色的游击队电影品牌来建构的。通过将Živojinović的明星形象置于其作品的背景下，定义党派美学，并仔细分析演员职业生涯中的三个不同时期，以及在发展他作为原型英雄形象方面发挥核心作用的电影，即Kozara (Veljko bulajiki 1962)， Valter brani Sarajevo/Walter defessarajevo (Hajrudin Krvavac 1972)和Lepa sela lepo gore/美丽的村庄，美丽的火焰(Srđan dragojeviki 1996)，我展示了维里米尔·巴塔Živojinović所体现的坚不可摧的党派形象是如何在银幕上的电影空间中建立起来的，以及这个形象是如何在电影中继续发展、转变和演变的，最后，通过银幕外的公共空间。
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Pub Date : 2021-12-20DOI: 10.1080/2040350x.2021.2015679
A. Grgić, Lydia Papadimitriou, C. Parvulescu
The Thessaloniki International Film Festival (TIFF), which took place between November 4 and 14, this year, is a resourceful hub for cinephiles and film professionals around the world to learn about recent output from the film industries of the Balkans, as well as about its cinematic traditions. To provide a panorama of Balkan cinema, TIFF has several tools at its disposal. The Balkan Survey showcases ten relevant recent feature films from the region and a selection of shorts. In addition, it features a special tribute for a director from the region, this year for Binka Zhelyazkova. Greek films are presented in a dedicated national section, while the Meet the Neighbours competition selects from an area that includes the Balkans, the Mediterranean region, and Eastern Europe. TIFF is a well-established event, with several competitive sections, the most important ones offering Golden Alexanders. This year, the Golden Alexander for the main competition went to Softies (Samuel Teis, France, 2021), while the Golden Alexander for Meet the Neighbours to Small Body (Laura Samani, Italy-France-Slovenia, 2021). The films from the Balkans that gained prestigious awards this year were Magnetic Fields (Yorgos Goussis, Greece, 2021), which won several awards including Film Forward for ‘young and daring directors who question our ties with reality.’ Vera Dreams of the Sea (Kaltrina Krasniqi, Kosovo-North Macedonia-Albania, 2021) was awarded the Silver Alexander of Meet the Neighbours, and Celts (Milica Tomović, Serbia, 2021) won the Mermaid Award for the best LGBTQI+-themed movie. The Balkan Survey is not competitive; however, in the words of its curator Dimitris Kerkinos, it is ‘one of the salient features of TIFF’s international identity, offering a strong motive to Greek audiences, but also to foreign film professionals to catch up on the latest cinematic developments in the Balkans’. The Survey was inaugurated in 1994, shortly after TIFF became an international festival. The Survey was aimed to build bridges of dialogue between national film cultures in the Balkans and stimulate coproductions. From its launch, it assertively used the term ‘Balkan’ to mark its pool of selection and did not shy away from introducing itself as promoting not only the talent but also the traditions of the area. This year’s line-up included titles from Bulgaria, Kosovo, Northern Macedonia, Romania, Serbia, and Turkey. Kerkinos describes it as showcasing ‘films with a great stylistic and thematic diversity that bring to light major regional concerns, such as issues of women’s liberation, the refugee crisis, immigration, religion, the family, and social dynamics’.
今年的塞萨洛尼基国际电影节(TIFF)于11月4日至14日举行，为世界各地的电影爱好者和电影专业人士提供了一个资源丰富的中心，让他们了解巴尔干半岛电影工业的最新成果，以及其电影传统。为了提供巴尔干电影的全景，TIFF有几个工具可供使用。《巴尔干调查》展示了该地区最近的十部相关故事片和一些精选短片。此外，它还特别向该地区的一位导演致敬，今年是宾卡·热利亚兹科娃(Binka Zhelyazkova)。希腊电影在专门的国家单元中呈现，而“与邻居见面”竞赛则从包括巴尔干半岛、地中海地区和东欧在内的地区进行选择。TIFF是一个成熟的活动，有几个有竞争力的部分，最重要的是提供金亚历山大奖。今年，主竞赛的金亚历山大奖颁给了《Softies》(塞缪尔·泰斯，法国，2021年)，而《Meet the neighbors to Small Body》(劳拉·萨马尼，意大利-法国-斯洛文尼亚，2021年)的金亚历山大奖则颁给了《Meet the neighbors to Small Body》。今年获得著名奖项的巴尔干电影是《磁场》(Yorgos Goussis，希腊，2021年)，该片获得了包括“年轻而大胆的导演质疑我们与现实的关系”在内的多个奖项。《Vera Dreams of the Sea》(Kaltrina Krasniqi，科索沃-北马其顿-阿尔巴尼亚，2021年)获得了Meet the neighbors的Silver Alexander奖，《Celts》(Milica tomoviki，塞尔维亚，2021年)获得了最佳LGBTQI+主题电影美人鱼奖。巴尔干调查没有竞争性;然而，用策展人Dimitris Kerkinos的话来说，这是“TIFF国际身份的显著特征之一，为希腊观众提供了强大的动力，同时也为外国电影专业人士提供了追赶巴尔干半岛最新电影发展的动力。”调查开始于1994年，在TIFF成为国际电影节后不久。调查的目的是在巴尔干各国电影文化之间建立对话的桥梁，并鼓励合作制作。从一开始，它就果断地使用“巴尔干”这个词来标记它的选择，并毫不回避地介绍自己，不仅要推广人才，还要推广该地区的传统。今年的名单包括保加利亚、科索沃、北马其顿、罗马尼亚、塞尔维亚和土耳其。Kerkinos将其描述为展示“风格和主题多样性的电影，这些电影揭示了重大的地区问题，如妇女解放、难民危机、移民、宗教、家庭和社会动态等问题”。
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Pub Date : 2021-12-18DOI: 10.1080/2040350X.2021.2008132
Anna Zsubori
Abstract Ever since Disney Princesses were established as a marketing brand in 2000, they have become a famous ‘phenomenon’ that has been commercially successful, popular, and adored, but one that has also received much criticism from scholars and consumers alike. Although audience research has gained increasing recognition in recent years, this field’s attention has focused mainly on the ‘West’, neglecting Eastern European—including child—audiences. Moreover, while there are several scholarly examinations of Disney Princess films, these studies mainly employ textual analysis (Escalada-Cordova 2018; Whelan 2014; Wilde 2014) rather than conducting empirical research. Instead of reading for the audiences and making assumptions about how they interpret fame from a media text, in this case Disney Princesses, it is therefore crucial to ask audience members themselves, as Sonia Livingstone observes, ‘it is established that audiences are plural in their decodings, that their cultural context matters, and that they often disagree with textual analyses’ (2008, p. 4). By drawing upon diverse scholarly works within the field of celebrity studies as well as undertaking an audience study with Eastern European—specifically Hungarian—tweens, the objective of this article is twofold. On the one hand, this paper argues that animated characters are indeed entitled to have a fame status. It does so by deploying theorisations that distinguish between heroes and celebrities (North, Bland, and Ellis 2005), celebrities and stars (G. Turner, Bonner, and Marshall 2000), and differentiate among animated characters considered as ‘celeactors’ (Rojek 2001), or as stars (Ellis 2007; McGowan 2018; 2019). On the other hand, through the analysis of audiences’ diverse perceptions of fame, illustrated by Hungarian tweens’ understanding of Disney Princesses—an enormous global media phenomenon—this article provides a key case study for the aforementioned argument while highlighting the features of celebrity culture that are specific to Hungary. Taking into account Hungarian tweens’ approaches towards Disney Princesses, while considering that Disney is claimed to have ‘immense power over childhood culture’ (Garofalo 2013) and that ‘[t]he celebrity is simultaneously a construction of the dominant culture and a construction of the subordinate audiences of the culture’ (Marshall 2014, p. 48), this paper starts revealing the diverse ways in which different cultures conceptualise celebrity notions.
自从迪斯尼公主在2000年成为一个营销品牌以来，她们已经成为一个著名的“现象”，在商业上取得了成功，受到了欢迎和崇拜，但也受到了许多学者和消费者的批评。尽管受众研究近年来获得了越来越多的认可，但这一领域的注意力主要集中在“西方”，而忽视了东欧——包括儿童受众。此外，虽然对迪士尼公主电影有一些学术研究，但这些研究主要采用文本分析(Escalada-Cordova 2018;惠兰2014;Wilde 2014)，而不是进行实证研究。与其为观众阅读并假设他们如何从媒体文本中解读名声，在这个例子中，迪士尼公主，因此询问观众自己是至关重要的，正如索尼娅·利文斯通(Sonia Livingstone)所观察到的那样，“可以确定的是，观众在解码中是多元的，他们的文化背景很重要，他们经常不同意文本分析”(2008)。通过借鉴名人研究领域的各种学术著作，以及对东欧(特别是匈牙利)青少年进行受众研究，本文的目的是双重的。一方面，本文认为动画人物确实有权享有名声地位。它通过运用区分英雄和名人(North, Bland, and Ellis, 2005)、名人和明星(G. Turner, Bonner, and Marshall, 2000)的理论来做到这一点，并区分被认为是“明星”(Rojek, 2001)或明星(Ellis, 2007;麦高文2018;2019)。另一方面，通过分析观众对名声的不同看法，以匈牙利青少年对迪士尼公主的理解为例，这是一个巨大的全球媒体现象，本文为上述论点提供了一个关键的案例研究，同时突出了匈牙利特有的名人文化特征。考虑到匈牙利青少年对迪士尼公主的态度，同时考虑到迪士尼被声称拥有“对儿童文化的巨大权力”(Garofalo 2013)，以及“名人同时是主导文化的建构，也是文化下属观众的建构”(Marshall 2014，第48页)，本文开始揭示不同文化概念化名人概念的不同方式。
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Pub Date : 2021-12-16DOI: 10.1080/2040350X.2021.2009651
Zdenko Mandušić
Abstract Želimir Žilnik’s films are marked by the director’s work with nonprofessional actors who come from the social periphery or marginalized communities and offer unconventional perspectives about social conditions and history. As the title of Žilnik’s recent retrospective exhibition ‘Shadow citizens’ indicates, his films present individuals who embody alternatives to their time’s ruling ideology. These characters include homeless men in communist-era Novi Sad, guest workers in Germany, drag queens in nationalist-dominated Belgrade, immigrants trying to enter Europe and laid-off industrial workers in post-Yugoslav Serbia. Following the long legacy of filming amateur actors, Žilnik cuts a distinct path in using nonprofessionals. This essay comparatively analyzes his Kenedi trilogy and The Old School of Capitalism (2009) with other recent films of social concern from Eastern European directors to place in relief how Žilnik’s films define the socially marginalized and historically determined position of their subjects. This article argues that Žilnik’s films present a critical development in the cinematic practice of reenactment and the use of nonprofessional actors since the director makes it possible for his amateurs to simulate and critically revise their reality on the film screen.
{"title":"Performing a Version of Themselves: A Comparative Analysis of Želimir Žilnik’s Work with Nonprofessional Actors","authors":"Zdenko Mandušić","doi":"10.1080/2040350X.2021.2009651","DOIUrl":"https://doi.org/10.1080/2040350X.2021.2009651","url":null,"abstract":"Abstract Želimir Žilnik’s films are marked by the director’s work with nonprofessional actors who come from the social periphery or marginalized communities and offer unconventional perspectives about social conditions and history. As the title of Žilnik’s recent retrospective exhibition ‘Shadow citizens’ indicates, his films present individuals who embody alternatives to their time’s ruling ideology. These characters include homeless men in communist-era Novi Sad, guest workers in Germany, drag queens in nationalist-dominated Belgrade, immigrants trying to enter Europe and laid-off industrial workers in post-Yugoslav Serbia. Following the long legacy of filming amateur actors, Žilnik cuts a distinct path in using nonprofessionals. This essay comparatively analyzes his Kenedi trilogy and The Old School of Capitalism (2009) with other recent films of social concern from Eastern European directors to place in relief how Žilnik’s films define the socially marginalized and historically determined position of their subjects. This article argues that Žilnik’s films present a critical development in the cinematic practice of reenactment and the use of nonprofessional actors since the director makes it possible for his amateurs to simulate and critically revise their reality on the film screen.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80292509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-13DOI: 10.1080/2040350X.2021.2014091
D. Radunović
Abstract The paper takes as a starting point the concept of dissensus understood by the French philosopher Jacques Rancière as a gap in, or a redistribution of the right to speak, to see or to be seen. The paper further asserts that dissensus, thus understood, perfectly encapsulates the efforts of the post-Yugoslav filmmaker Želimir Žilnik: to intervene in representational order and render visible the socially marginalised and invisible. The notion of political cinema, usually associated with Žilnik, is here redefined as a practice geared towards changing the rules of visibility and towards a redistribution of the authority/right to speak and be seen. The paper also emphasises the immediacy of representation in Žilnik and argues that Žilnik’s ideological horizons revolve around Marx’s concept of immediate experience, rather than around historical Marxism. Lastly, the paper relates Žilnik’s early interrogations of social exclusion to his later preoccupations with displacement and exile and focuses on the author’s 2018 film The Most Beautiful Country in the World. In conclusion, the paper puts forward the suggestion that Žilnik’s last film, while showcasing some of its author’s long-standing views of exile, brings forth a new, transnational and socially pragmatic vista on the processes of integration and acculturation.
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Pub Date : 2021-11-25DOI: 10.1080/2040350X.2021.1999619
A. Gadalean
Abstract This article examines the ways in which Romanian socialist politics and state-sanctioned film journalism intersected around film sexuality and foreign film stardom, in order to reinforce the official discourse on sexual morality in the 1960s and 1970s. The ‘60s represented a decade of political and ideological semi-relaxation in socialist Romania. Film audiences retained some access to Western productions, and foreign film stars carried significant erotic appeal to viewers. The state-funded Cinema magazine aimed to disrupt these tendencies either by arguing that the objects of desire were representative of lower quality cinema, or, in full-on Cold War style, by building the case for the decline of Western capitalism through pinpointing all manifestations of sexuality as a symptom of it. This article looks at the ways in which ideological arguments to “redact” film sexuality, while failing to repurpose it, managed to redirect it and reposition it as alien to socialist culture. The article also explores the continuation of this trend during the 1970s, when film stardom and the seductive appeal of film stars were validated by their conformation to political and historical ideologies directly linked to the concerns of the Romanian Communist Party.
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Pub Date : 2021-11-03DOI: 10.1080/2040350X.2021.1994758
V. Vuković
Abstract In socialism, Yugoslav women became empowered by employment and income, but gender equality stayed rather nominal in the family domain. Such gender inequity is addressed in the works of the Yugoslav novi film/New Film (1961–72) auteurs. They occasionally turned to allegories in order to communicate political criticism. One of them was Želimir Žilnik. His most internationally lauded film, winner of the Golden Bear in 1969, is Rani radovi/Early Works (1969). It features a heroine Jugoslava (Milja Vujanović), whose name is eponymous of Yugoslav nation. Bearing in mind that in the majority of Yugoslav New Films a leading character is a man, Early Works is exceptional for having a woman as the main heroine. I will approach Jugoslava’s character: as an allegory of Yugoslavia and its revolutionary spirit, as well as a prototype of an emancipated woman, punished by rape and killing. My research studies the link in the film between Žilnik’s political critique via strong heroine as a proxy, and her objectification. By reading the film from a feminist perspective and building my arguments on close analysis, I contend that Jugoslava is concurrently empowered and disempowered, an active subject and sexually objectified object, a raped nation and a raped feminist.
{"title":"Yugoslav(i)a on the margin: sexual taboos, representation, nation and emancipation in Želimir Žilnik’s Early Works (1969)","authors":"V. Vuković","doi":"10.1080/2040350X.2021.1994758","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1994758","url":null,"abstract":"Abstract In socialism, Yugoslav women became empowered by employment and income, but gender equality stayed rather nominal in the family domain. Such gender inequity is addressed in the works of the Yugoslav novi film/New Film (1961–72) auteurs. They occasionally turned to allegories in order to communicate political criticism. One of them was Želimir Žilnik. His most internationally lauded film, winner of the Golden Bear in 1969, is Rani radovi/Early Works (1969). It features a heroine Jugoslava (Milja Vujanović), whose name is eponymous of Yugoslav nation. Bearing in mind that in the majority of Yugoslav New Films a leading character is a man, Early Works is exceptional for having a woman as the main heroine. I will approach Jugoslava’s character: as an allegory of Yugoslavia and its revolutionary spirit, as well as a prototype of an emancipated woman, punished by rape and killing. My research studies the link in the film between Žilnik’s political critique via strong heroine as a proxy, and her objectification. By reading the film from a feminist perspective and building my arguments on close analysis, I contend that Jugoslava is concurrently empowered and disempowered, an active subject and sexually objectified object, a raped nation and a raped feminist.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82703014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-28DOI: 10.1080/2040350X.2021.1994745
Richard Vojvoda
Abstract In this article I argue that debates about Kolya (1996) and the images of its two authors Jan and Zdeněk Svěrák that were circulating in the media at the time of its release reveal several hopes and anxieties about Czech national cinema’s coming to terms with the effects of post-communist transition. I will analyse interpretations and discourses about the film circulating primarily in Czech press. The aim is to look at how the talk about Kolya developed as several discourses and interpretative strategies were introduced in different attempts to make sense of the film. The time frame I focus on here starts before the film’s release and reaches until the coverage of the Academy Awards ceremony in 1997 where the film received an Oscar for the Best Foreign Language Film. I argue that in this timespan, the film’s value was negotiated and contested prominently along a set of two references – the ‘truthfulness’ of the Czechness it represents, and the importance of international recognition for Czech cinema. I analyse these discourses in the context of changing conditions in Czech cinema after the Velvet Revolution in 1989.
{"title":"Selling ‘Czechness’ abroad: images of Jan and Zdeněk Svěrák in promotion and reception of Kolya","authors":"Richard Vojvoda","doi":"10.1080/2040350X.2021.1994745","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1994745","url":null,"abstract":"Abstract In this article I argue that debates about Kolya (1996) and the images of its two authors Jan and Zdeněk Svěrák that were circulating in the media at the time of its release reveal several hopes and anxieties about Czech national cinema’s coming to terms with the effects of post-communist transition. I will analyse interpretations and discourses about the film circulating primarily in Czech press. The aim is to look at how the talk about Kolya developed as several discourses and interpretative strategies were introduced in different attempts to make sense of the film. The time frame I focus on here starts before the film’s release and reaches until the coverage of the Academy Awards ceremony in 1997 where the film received an Oscar for the Best Foreign Language Film. I argue that in this timespan, the film’s value was negotiated and contested prominently along a set of two references – the ‘truthfulness’ of the Czechness it represents, and the importance of international recognition for Czech cinema. I analyse these discourses in the context of changing conditions in Czech cinema after the Velvet Revolution in 1989.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80792520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-28DOI: 10.1080/2040350X.2021.1994240
Jelena Jelušić
Abstract This article examines Želimir Žilnik’s telefilm Stara mašina/Oldtimer (1989) as an example of the politically engaged use of genre and intertextuality in televisual representation. As a road movie, Oldtimer highlights how the journey trope imbued visual representations of movement with ideological and political meanings. At the same time, the film exposes the nationalist motivations behind the so-called anti-bureaucratic revolution in Serbia in 1988 and emphasizes television news department staff’s complicity in concealing them. This article argues that, by incorporating television news into its diegetic universe, the film displaced the content presented as informational into the realm of fiction. In this way, Oldtimer not only exposed this case of misinformation but modeled a critical approach to the consumption of television. The paper shows that Žilnik’s work contributed to the broadening of televisual potential for ideological signification, allowing the medium to function not simply as a propaganda instrument but as a space of contestation of different ideological positions. Žilnik’s choice to realize this project as a film for television shows the televisual capacity for self-awareness, and Oldtimer points to the medium’s potential to address the problems that political pressures create.
{"title":"The politics of a rock ‘n’ road docudrama—genre and intertextuality in Želimir Žilnik’s Oldtimer (1989)","authors":"Jelena Jelušić","doi":"10.1080/2040350X.2021.1994240","DOIUrl":"https://doi.org/10.1080/2040350X.2021.1994240","url":null,"abstract":"Abstract This article examines Želimir Žilnik’s telefilm Stara mašina/Oldtimer (1989) as an example of the politically engaged use of genre and intertextuality in televisual representation. As a road movie, Oldtimer highlights how the journey trope imbued visual representations of movement with ideological and political meanings. At the same time, the film exposes the nationalist motivations behind the so-called anti-bureaucratic revolution in Serbia in 1988 and emphasizes television news department staff’s complicity in concealing them. This article argues that, by incorporating television news into its diegetic universe, the film displaced the content presented as informational into the realm of fiction. In this way, Oldtimer not only exposed this case of misinformation but modeled a critical approach to the consumption of television. The paper shows that Žilnik’s work contributed to the broadening of televisual potential for ideological signification, allowing the medium to function not simply as a propaganda instrument but as a space of contestation of different ideological positions. Žilnik’s choice to realize this project as a film for television shows the televisual capacity for self-awareness, and Oldtimer points to the medium’s potential to address the problems that political pressures create.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74530293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-16DOI: 10.1080/2040350X.2021.1990505
E. Mazierska
ABSTRACT This article presents the career of Eugeniusz Bodo who was the greatest Polish male movie star of the interwar period, examines the character he created on screen and its connection to Bodo’s off-screen persona. It also examines his position in Polish cinema after his death, especially during the period following the fall of state socialism, what is described here as ‘poststardom’. It argues that Bodo owed his success to two principal factors. One of them was the conducive circumstances in the Polish film and entertainment industry and his ability to exploit them to the full. Another factor was the match between his artistic persona and certain traits of Polish national character and, especially, the fit between the ideas Bodo embodied in some of his films and the image Poland tried to create during the same period. It also claims that after 1989 Bodo’s appeal was augmented because the details of his death, revealed in this period, rendered him the perfect tragic artist.
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