Bastiani
Poznat
- Poruka
- 7.646
Ево шта каже енглеска Википедија о одликама жанра, на срамоту нема тога на домаћој Википедији.
In his analysis of Fadil Hadžić's The Raid on Drvar (1963), Croatian film critic Jurica Pavičić identifies seven key characteristics of what he calls "super-Partisan films":[6]
Focus on crucial, well-known, "textbook" examples of Partisan struggle, such as major battles and operations, which are then given an officially sanctioned interpretation.
Absence of authentic, high-profile figures of Partisan struggle, with the exception of Josip Broz Tito. In Pavičić's view, the rationale for this was to avoid threatening the Tito's cult of personality.
Mosaic structure in which sometimes dozens of characters take part, and their fate is followed throughout the film. These characters represent different classes or walks of life (intellectuals, peasants), or different ethnicities.
Mixing of the comic with the tragic.
The presence of foreign (non-Yugoslav) characters as arbiters. Their role is to witness and verify the martyrdom and heroism of Yugoslav peoples as Partisan films depict them, sending a symbolical message ("There it is, the world acknowledges us as we are").
The characteristic treatment of the Germans: although they are portrayed as villains, and are demonized in various ways, they are also shown to be superior in power and discipline, and are depicted as an efficient, sophisticated, even glamorous adversary.
Deus ex machina endings, in which the Partisans break out of the seemingly hopeless situations.
Pavičić's analysis was criticized for not being universally applicable to Partisan films, and a number of notable exceptions to the above formula were provided
In his analysis of Fadil Hadžić's The Raid on Drvar (1963), Croatian film critic Jurica Pavičić identifies seven key characteristics of what he calls "super-Partisan films":[6]
Focus on crucial, well-known, "textbook" examples of Partisan struggle, such as major battles and operations, which are then given an officially sanctioned interpretation.
Absence of authentic, high-profile figures of Partisan struggle, with the exception of Josip Broz Tito. In Pavičić's view, the rationale for this was to avoid threatening the Tito's cult of personality.
Mosaic structure in which sometimes dozens of characters take part, and their fate is followed throughout the film. These characters represent different classes or walks of life (intellectuals, peasants), or different ethnicities.
Mixing of the comic with the tragic.
The presence of foreign (non-Yugoslav) characters as arbiters. Their role is to witness and verify the martyrdom and heroism of Yugoslav peoples as Partisan films depict them, sending a symbolical message ("There it is, the world acknowledges us as we are").
The characteristic treatment of the Germans: although they are portrayed as villains, and are demonized in various ways, they are also shown to be superior in power and discipline, and are depicted as an efficient, sophisticated, even glamorous adversary.
Deus ex machina endings, in which the Partisans break out of the seemingly hopeless situations.
Pavičić's analysis was criticized for not being universally applicable to Partisan films, and a number of notable exceptions to the above formula were provided
