Suchergebnisse

Članak se bavi načinima na koje je konstruisana slika neprijatelja u tzv. 'filmovanim ofanzivama'. Reč je o filmovima kinematografije socijalističke Jugoslavije koji su ekranizovali neprijateljske ofanzive (sedam vojnih operacija nemačke vojske i njenih saveznika protiv jugoslovenskih partizana tokom Drugog svetskog rata). Ove ofanzive su u realnom (istorijskom), a možda još više u simboličkom smislu zauzimale značajno mesto u okviru zvaničnog ideološkog diskursa jugoslovenskih komunista. Samim tim filmovane ofanzive su, u ideološkom pogledu, bile značajnije od ostatka filmske produkcije o partizanskoj borbi, ali su takođe bile i važan segment popularne kulture jugoslovenskog socijalizma. U radu će se pokušati ukazati na doslednost filmske konstrukcije neprijatelja kako spram zvanične ideologije, tako i spram tadašnje realnosti u kojoj su filmovi nastali, ali i one istorijske ka kojoj su referirali. ; The article deals with different ways of constructing the image of the enemy in the partisan war campaign movies. Those films belong to socialist Yugoslavian cinematography and they are depicting seven military operations of German army and its allies against Yugoslav partisans during the World War Two. Those battles became very significant (in real and symbolic sense) for ideological discourse of Yugoslav communists. Furthermore, from the ideological point of view, movies which were depicting those battles were important segment of ex-Yugoslav cinematography, and they were also important part of the popular culture in socialist Yugoslavia. The paper will try to pinpoint consistency between the concept of enemy in films and the official ideology, as well as consistency with the historical facts. .

Rad se bavi analizom načina na koje su klasni i rodni obrasci konstruisani u ratnim spektaklima socijalističke Jugoslavije. Izabrani su pre svega oni filmovi koji su ekranizovali neprijateljske ofanzive (tzv. 'filmovane ofanzive'), jer su istorijski posmatrano, ove ofanzive u realnom, a možda još više u simboličkom smislu zauzimale značajno mesto u okviru zvaničnog ideološkog diskursa jugoslovenskih komunista. Sa druge strane, sami ratni spektakli i ofanzive koje su inscenirali bili su veoma važan, mada često potcenjen segment jugoslovenske kinematografije. U radu će se posebno ukazati na doslednost filmske konstrukcije ovih obrazaca kako spram zvanične ideologije tako i spram tadašnje realnosti u kojoj su filmovi nastali, ali i one istorijske ka kojoj su referirali. ; The paper work is dealing with the ways of film's construction class and gender patterns in war epics of socialistic Yugoslavia. The exact subjects of ana­lysis are only those films which were showing 'the enemy offensives' (the seven military operations of German army (Wehrmacht) and its allies against Yugoslav partisans during the World War Two). Those offensives were very significant (in real and symbolic sense) for ideological discourse of Yugoslav communists. On the other hand, films which were depicting those offensives were important (but often underestimated) segment of ex-Yugoslav cinematography. At the end, the film construction of those patterns (class and gender) will be compared with the official ideology, as well as with the social context in that are analyzed films were made, and with historical facts to which were those films referring.

U radu će biti razmotrena ideologizacija popularne kulture, tačnije jedne njene sfere koja se odnosi na filmsku produkciju. Ova problematika će se posmatrati na primeru odnosa američke filmske industrije prema nemačkom fašizmu, u periodu pre početka Drugog svetskog rata, odn. tokom 1930-tih godina. Pažnja će biti posvećena odnosu zvaničnog Holivuda prema fašističkom režimu u Nemačkoj, kao i faktorima koji su taj odnos u znatnoj meri uslovljavali. U tom smislu, naglasiće se uticaj političkog establišmenta SAD na filmsku produkciju, kao i institucionalizacija (auto)cenzure u okviru američke filmske industrije, koja je u velikoj meri kreirala "zvaničnu politiku" Holivuda. ; This paper is analyzing the ideologization of popular culture, especially in the sphere of film production. It treats the relationship between American film industry and the German fascism in the decade preceding World War Two (1930s). The focus is on the relationship between the official Hollywood and the fascist regime in Germany and the main factors of that relationship. In that sense, the emphasis is on the significance of economic factors, the influence of the political establishment of the USA, as well as the institutionalization of (self)censure within the American film industry.