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Title:Instrumentalnost in avtonomnost postjugoslovanskega filma : doktorska disertacija študijskega programa tretje bolonjske stopnje Humanistične znanosti
Authors:ID Čakalić, Aleš (Author)
ID Štrajn, Darko (Mentor) More about this mentor... New window
Files:URL https://
 
.pdf Cakalic_Ales_dr_2025.pdf (7,14 MB)
MD5: F8F8D8320AAED26200A6321BBB1D3017
 
Language:Slovenian
Work type:Doctoral dissertation
Typology:2.08 - Doctoral Dissertation
Organization:UAMEU - Alma Mater Europaea University
Abstract:Postjugoslovanski film opredeljujem kot korpus filmskih del, ki se ukvarjajo z vprašanji razpada Jugoslavije, njegovih družbenih posledic ali mednacionalnih odnosov v nekdanji skupni državi, ki so na nasilni razpad države vplivali. V postjugoslovanskem filmu prepoznam dva načina razumevanja umetniškega ustvarjanja in izjavljanja: instrumentalno linijo, ki filme podredi vlogi prenašanja političnih in ideoloških sporočil, ter avtonomno linijo, v kateri si ustvarjalci vzamejo pravico do svobodnega umetniškega izražanja, kar – v skladu s spoznanji sodobne filozofije umetnosti – generira avtentične umetniške resnice. Osrednje raziskovalno vprašanje te disertacije je, katere umetniške resnice generira avtonomni postjugoslovanski film. Krvavi razpad Jugoslavije se ob tem izkaže za posledico delovanja hujskaškega nacionalizma, ki je po smrti predsednika Tita izkoristil pritajena mednacionalna sovraštva, jih s pomočjo servilnih režimskih medijev kanaliziral v vojno in jih uporabil za kovanje vojnega dobička; ob čemer so bili na vseh vpletenih straneh storjeni vojni zločini. Ugotovim, da je osrednji dogodek oz. badioujevska konfiguracija postjugoslovanskega filma sekvenca filmov, ki jo po zgledu jugoslovanskega filmskega »črnega vala« iz 60. in 70. let 20. stoletja poimenujem postjugoslovanski črni film.
Keywords:postjugoslovanski film, instrumentalnost, avtonomnost, razpad Jugoslavije, umetniške resnice, postjugoslovanski črni film
Place of publishing:Maribor
Place of performance:Maribor
Publisher:A. Čakalić
Year of publishing:2025
Year of performance:2025
Number of pages:134 str.
PID:20.500.12556/ReVIS-13277 New window
COBISS.SI-ID:271103747 New window
UDC:791.3(043.3)
Publication date in ReVIS:10.03.2026
Views:106
Downloads:9
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Secondary language

Language:English
Abstract:Post-Yugoslav cinema is defined as an aggregation of film works that deal with issues of the breakup of Yugoslavia, its social consequences, or with those interethnic relations in the former Yugoslavia that influenced the violent breakup of the state. In post-Yugoslav cinema, two approaches to understanding artistic creation and expression can be ascertained: an instrumental line that subordinates films to the role of transmitting political and ideological messages, and an autonomous line in which creators claim the right to free artistic expression, which – in accordance with the findings of contemporary philosophy of art – generates authentic artistic truths. The central research question inquires which are the artistic truths that autonomous post-Yugoslav cinema generates. The bloody breakup of Yugoslavia turns out to be the result of the actions of incendiary nationalism, which, after the death of President Tito, exploited latent interethnic hatreds in the state, channeled them into war with the help of obsequious media, and used them to forge war profits; in the process, war crimes were committed on all sides involved. The central event or Badiouian configuration of post-Yugoslav cinema is found out to be a sequence of films that can be labelled as post-Yugoslav black film, following the example of the Yugoslav cinema’s »black wave« of the 1960s and the 1970s.
Keywords:post-Yugoslav cinema, instrumentality, autonomy, the breakup of Yugoslavia, artistic truths, post-Yugoslav black film


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