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This paper provides an analysis of the bioscope repertoire, organization and infrastructure between the two world wars in Montenegro in the Kingdom of Serbs, Croats, and Slovenes/Yugoslavia. Montenegro entered the Yugoslav state in 1918 with a relatively modest bioscope network and repertoire. This can be explained by the fact that Montenegro was a small country in terms of its territory and at the same time it lagged behind other European countries in economy and culture, although it had live connections with the then developed European countries such as Austria- Hungary and Italy, as well as Serbia. In the interwar period, the bioscope network, technical equipment, screening quantity and quality developed slowly but continuously in the 1920s. During the 1930s, with the transition to tone-film and its mass production and distribution, the bioscope network spread even further. This is due to the fact that bioscopes ceased to represent a short-term fashion trend (just to try it out and see) but started to evolve into a habit and human need. Local people prone to business soon started to realize that the bioscope was starting to become a lucrative business with quick and continuous profit inflows. On the other hand, in order to increase the profit, they started making investments into the interiors, cinema projectors (especially when tone-films became widespread) and the diversity and attractiveness of film genre, in order to attract a larger audience. [ABSTRACT FROM AUTHOR]

The Emperor’s New Clothes (1837) by Hans Christian Andersen is a classic of children’s literature, but also holds an essential, emblematic position in the sphere of world literature and culture in general – it is one of the most translated stories/fairy tales, published in numerous languages and transposed into various media, but it is also a story with a rich semantic potential which allows for diverse interpretations. The focus of this paper is the comparative analysis of the famous Andersen story, and the eponymous feature film by the Croatian and Yugoslav director Ante Babaja, filmed in 1961. The screenplay was written by Božidar Violić, who adapted Andersen’s story for film. The Emperor’s New Clothes is the first feature film by this renowned director, and also the first Croatian feature film in colour. The unusual adaptation by Babaja is interesting on several levels and for a number of reasons – both poetic reasons (the approach is atypical, where the standard scenography is absent, and white surfaces take its place along with the socalled high-key lighting, signed by Oktavijan Miletić), and reasons of a wider scope, related to reception. Babaja’s film enables different readings than the ones based on Andersen’s template by intervening into the motif and narrative dimensions of the original story, but also through transgressions at the stylistic level (intermedial contact with stage acting), and the socio- political context in which the film originated (the time of socialist Yugoslavia). More precisely, Babaja’s The Emperor’s New Clothes reinterprets Andersen’s story by adding to it a concrete socio-political allegory of (not only) former Yugoslavia, while at the same time not discarding the central space of Andersen’s story – the relation between collective conventions and individual consciousness, cowardice and courage, submission and freedom, as the archetypical spaces of human communities. [ABSTRACT FROM AUTHOR]

The paper centres on the status of cinema in the Program for the first cycle of primary education in Serbia and on the manner in which the Speech Development Methodology and Serbian Language and Literature Classes Methodology at the Faculty of Teacher Education in Belgrade include film in theoretical and practical courses. The methodology used for the interpretation of animated films is shown in the example of three silent period films (Enchanted Drawing /1900/ and Humorous Phases of Funny Faces /1906/ by James Stuart Blackton and A Love Affair in Toyland / Émile Cohl, 1908/), while the second part of the paper centres on several Walt Disney films (Three Little Pigs /Burt Gillett, 1933/, Three Little Wolves /David Hand, 1936/ and The Practical Pig /Dick Rickard, 1939/). Analysing formal and content-related features of the selected films, we try to present the aspects that an educator/trainer has to take into account while preparing an activity (or a teaching unit) dedicated to the animated film. Finally, we offer a value system by which the proposed films (presented from the per spective of character animation) realize their potential for fostering children’s wellbeing in kindergartens. [ABSTRACT FROM AUTHOR]

The paper tackles style in feature-length film as well as humour that can be achieved in film by carefully selecting stylistic elements. This approach to film analysis is not as prevalent as the cultural and historical one, but it’s becoming increasingly popular largely due to film scholar David Bordwell who in his book On the History of Film Style examines film starting precisely with the history of style. This paper relies on Bordwell’s methodology, characterized by the focus on the text, i.e. exclusive dedication to film analysis. The paper tackles the work by two directors whose poetics share many common techniques although differing in some important aspects ‒ Wes Anderson and Edgar Wright. [ABSTRACT FROM AUTHOR]

The paper aims to clarify Dušan Makavejev’s position in a specific branch of the Serbian cinema – the Black Wave. It examines the extent to which the rhetoric of the Black Wave is present in Makavejev’s cinema, and the extent to which it deviates from it, demonstrating authentic style that surpasses particularities of the narrowly Serbian cinema. The paper is specifically aimed at interpreting Makavejev’s first feature-length film Man Is Not a Bird (1965), particularly inclined to examine Eisenstein’s montage of attractions in the cinematic plot composition. The paper interprets the intertwining of the public and intimate/ideological and sexual as regards the creation of film heroes and indicates that there are specific subjects on the margins that, by associational montage and dialogic framing, question the rhetoric of freedom as opposed to ideological repression. [ABSTRACT FROM AUTHOR]

This paper aims at describing specific strategies and narrative and structural models used by Walt Disney Animation Studios when adapting literary and other works for the movies. By analysing the selected case study – Disney’s Tangled (Nathan Greno and Byron Howard, 2010), and drawing a comparison with the Brother Grimm’s Rapunzel on which it is based, we are going to try to describe the process of the so called disneyfication and its ideological implications. We are particularly interested in the question of what changes in the film and what stays the same. What elements of the literary work are modified and how? How do the introduced changes affect the content and the meaning of the literary classic? Special attention is dedicated to the analysis of the twist, key themes and motifs, as well as the three main characters: Rapunzel, the sorceress/Mother Gothel and the prince/Flynn Rider. [ABSTRACT FROM AUTHOR]

In 1973, the United States Armed Forces transitioned to an all-volunteer armed force. This transition forced them to communicate more actively with potential volunteers on the labour market. The US Armed Forces have had a long documented history of cooperation with the film industry which has been formalized through publicly available procedures. Science-fiction movies are targeted at younger audiences and they display a high-tech environment, which makes them an interesting genre in terms of military advertising. By analysing the US Armed Forces procedures when it comes to cooperation on film production, but also by exploring other authors who contribute to the topic, the author comes to the conclusion that the armed forces have a significant impact on the manner in which they are presented in the films in whose production they take part. Analysing 40 financially most successful American sci-fi films from 2010 to 2013, the author of the paper establishes that the involvement of the US Armed Forces in sci-fi film production in principle brings a favourable presentation, significantly more frequently that in the case of films in which they do not partake. All of which is to indicate that there needs to be a degree of caution when analysing films that involve NATO and non-NATO armed forces. [ABSTRACT FROM AUTHOR]

Michael Haneke’s complex and layered work centres in many aspects on the problematic European (but also human) history analysing it skilfully at the micro level of close-knit primary communities such as family. Loss of language, obsession with images, anxiety, fragmented and mediatized reality, decay of communication are all just the symptoms of a trauma that appear simultaneously in Haneke’s films, very often as the backbone of the entire work. This paper interprets the traumatic disorder and its accompanying characteristics within the framework of Haneke’s work, with the aim of providing a deep dive into the criticism of the colonialist, nationalist and generally problematic history of the developed West and the impossibility of narrativizing it, but also contemporary society that lies on those contentions foundations. [ABSTRACT FROM AUTHOR]

The films The Manchurian Candidate by John Frankenheimer (1962) and Jonathan Demmea (2004) pertain to the best well-known representatives of the political thriller subgenre in the American cinema of the 20th and 21st centuries. Although there is a period spanning almost half of the tumultuous 20th century that separates them, Frankenheimer’s original and Demme’s remake get to grips with political and social circumstances of their times in a similar manner – Frankenheimer with the full-blown Cold War and Demme with conflicts in the Middle East after it ended. The controlling influence of the supporters of foreign and hostile political systems has been complemented with a subversive impact of female characters, predominantly mothers and lovers, on men. The paper gives a comparative analysis of these films, exploring their main themes and motifs. It also examines the political thriller subgenre, its main characteristics and the manner in which these two films can fit into it. [ABSTRACT FROM AUTHOR]

The paper centres on the term “political” specific to the cinema, relying on the concept of the “distribution of the sensible”, as defined by the French philosopher and theoretician Jacques Rancière. Given that the cinema as a medium developed from the technical invention of the film camera at the end of the 19th century and narration that was defined already by Aristotle, from the perspective of Rancière’s approach to politics we direct our attention to the specific manners in which film distributes narration and pictures, making pictures unite into a story and the story interrupted by pictures transmitting extra-cinematic and extra-narrative world. We analyse this issue on the example of the feature-length film Occupation in 26 Pictures (1978) by Lordan Zafranović which over time gained a controversial status of a film that departs from the norms of cinema of that time due to its fragmentation and display of violence. The paper aims at showing how the politics of this and every other film resides not in the ideas advocated by the author or film characters, but in the manner in which the relationship between the story and the picture is built in the film in which violence in content is transformed into a formal one, leading to the fragmentation of the classical narrative style. [ABSTRACT FROM AUTHOR]

The author of the paper points at specific cinematic metafiction characteristics in the film Once Upon a Time in Hollywood (Quentin Tarantino, 2019) and specific directorial solutions that are, in a formal sense, closely tied to Dušan Makavejev’s practice in the films Innocence Unprotected (1968) and WR: Mysteries of the Organism (1971). It is emphasized that Dušan Makavejev’s cinema was largely influenced by the GEFF and Mihovil Pansini’s anti-cinema ideas, the reason why the mentioned films reduce violence, take feature, documentary and even animated inserts from other films that are juxtaposed with the basic, filmed material. A similar procedure was demonstrated by Quentin Tarantino in his most recent featurelength film, giving precedence to intertextuality over dramatic conflict. However, as opposed to Dušan Makavejev, who used referencing for the purpose of subversion, Tarantino’s goal was to create apolitical cinema. [ABSTRACT FROM AUTHOR]

Continuity of a personified object as a non-human actor in three technological and aesthetic traditions This discussion by a pronounced animation researcher is centred on sketching a theoretic model for the animated doll with a special emphasis on the genre in contemporary times, when technology has left behind a large number of devices and customs from earlier periods of doll animation in moving images. The questions that the digital revolution imposes (If theatre is the source of the doll-film, can the same relation be established between film and digital/3D CGI animation? Can we talk about a continuity between digital and traditional film animation? Can digitally created anthropomorphic characters be considered dolls? Where is their stage?) can be answered with the claim that the digital doll-film is an entirely new form. However, the author argues that there is a continuing development of the animated doll as an object as such and so the digital doll stems from theatre and film animation, which is further discussed in the subtopics of the paper. Ajanović’s paper defines the term ‘doll’, explains its relationship with the human world, as well as its modes of expression and the relationship between animation and film, and gives a positive answer to the question about the existence of the digital doll-film, placing special emphasis on the humanization of the digital animation (in this case doll animation). [ABSTRACT FROM AUTHOR]

This paper aims to determine the specific visual style typical of Stanley Kubrick's films as well as to draw attention, through defined stylistic elements, to the innovative use of film photography and cinematography for the purpose of intertwining and complementing all the elements of the cinematic medium in a consistent narrative structure and a complete picture of the presented world. This way film photography surpasses both the banality of the mere reproduction of the material world as well as the futility of the unmotivated visual stylization where the form and the content do not make up a common cinematic fibre. The paper is based on the analysis of Stanley Kubrick's three films shot by John Alcott - A Clockwork Orange (1971), Barry Lyndon (1975) and The Shining (1980). The paper focuses primarily on the visual aspects of the film (lightning, colour and composition, type of lens, condition of the camera, angle, set design, costume design, etc.), but it also touches on other film elements (editing, narrative structure, storytelling, music, etc.). [ABSTRACT FROM AUTHOR]

Analysing his films from a theological perspective and taking into consideration his Jesuit upbringing in a Catholic family, the paper centres on Alfred Hitchcock’s religious background. There are two key directions mentioned in this context: the Jansenistic one, recognized in Hitchcock’s films by Éric Rohmer and Claude Chabrol, and the Catholic (Jesuit) one, advocated by film critic and Jesuit Neil Hurley. In Hitchcock’s films, faith, spirituality and moral are hidden behind the topics dealing with the wrongly accused “Christ-like” characters, the feeling of guilt and sin that characters struggle with, moral and ethical ambiguity, internal struggle between good and evil. Hitchcock’s metaphysical world is visually revealed by photographing explicit Christian motifs and symbols as well as implicit spiritual conditions – filming falls into the abyss, spiral camera movements, mirror reflections. I Confess (1953) and The Wrong Man (1956) are considered “the most Catholic of Hitchcock’s films”, with both implicit and explicit religious motifs. The paper centres on The Wrong Man. [ABSTRACT FROM AUTHOR]

Taking into consideration the parallel development of film and psychoanalysis, the paper presumes that such configuration can open up some cultural problems arising from the post(modernity) paradigm. On the example of the two specific episodes of the series Black Mirror (Charlie Brooker, 2011–), “San Junipero” (2016) and “Hang the DJ” (2017), the aim of the paper was to provide a three-layered insight into the relationship between the series and culture: first, analysing mechanisms that place the series within the framework of science-fiction, then, analysing romantic discourses within its worlds, and finally, analysing the term virtuality and its implications on the worlds of the episodes and the social reality. The paper analyzes the presentation of fantastic mechanisms on the screen when introducing alternative worlds and draws attention to their connection with the world of the unconscious by analysing love as a communication code of the two episodes. Finally, the aim of the paper was to warn about some social consequences of configuring love in the way it was done in the two episodes and thus acknowledge the relationship between the fantastic and the mimetic as a phenomenon that can help us understand artistic creations and their mutual relationship with the living culture. [ABSTRACT FROM AUTHOR]

The paper explores the statuses, sources and types of power in the television series Watchmen (Damon Lindelof, 2019), applying the theoretic framework based on Michel Foucault’s ideas about the patterns of power in the time of the society of control and psychoanalytic ideas about superego, supervision and Oedipalization. The first part deals with the issue of where superhumans belong in today’s society or rather who is or who can be a superhuman today. The second part deals with the positions of the police and the Watchman as an integral part of the police in the society compared to the psychoanalytic superego police. The third part questions the success of integrating the Watchman into the police comparing it to the Oedipalization process. [ABSTRACT FROM AUTHOR]

The aim of this paper is to provide a comprehensive overview of archival processing and protecting films in order to ensure their long-term preservation and availability since they represent national cinematic heritage in historical, cultural and other sociological aspects. Tracking historical development of film media, the paper is divided into two basic, larger units. The first part is related to the processing and protection of analog films. It describes the basic features of materials and standard practices for permanent storage of analog films. The second part is related to the processing and protection of digital archival films. The digitalized and originally digital works bring with them deep changes in the present archival practice. In the last part of the paper the author separately describes the procedures of reconstruction and restoration as well as evaluation of archival films as procedures which are important for the protection of cinematic cultural heritage. In the conclusion, the author points out the problems that represent key obstacles to the development of contemporary film archives. [ABSTRACT FROM AUTHOR]

The paper tackles the documentary film Dont Look Back (D. A. Pennebaker, 1967) which centres around Bob Dylan's ten-day-tour around Great Britain. This black-and-white film almost entirely shot using a handheld camera style is considered one of the pioneers of the direct cinema style. The paper centres around moments and circumstances of the careers in which Dylan and Pennebaker met on a joint project, as well as around documentary style features which Dont Look Back is considered to possess, direct cinema in the first place. Formal analysis encompasses more detailed aspects of the film, camera, sound, concert music treatment, editing and dramaturgical structure, and the conclusion questions to which extent and what types of documentary films can really (truly) present people and events. [ABSTRACT FROM AUTHOR]

Michael Haneke is one of the most important authors of modern film, winning some of the most prestigious awards such as the Palme d'Or, Academy Award as well as European film awards. It is precisely his body of work which is indicative of the rise of modern Austrian film, nowadays considered one of the most distinguished European cinemas. The aim of this paper is to provide a broader context within which Haneke emerged, with a special emphasis on the Austrian cinematic history, as well as a wider cultural heritage that has shaped Haneke. Haneke was greatly influenced by the classic Hollywood narrative style, which is an implicit starting point in all of his films, clearly inspired by anti-Hollywood poetics. Apart from analyzing Haneke's most important films, this paper briefly touches upon some of the most important representatives of modern Austrian film, from Ulrich Seidl and Barbara Albert to Stefan Ruzowitzki and Michael Glawogger, whose films contributed to the strength ening of Austrian film's reputation. The conclusion of the paper is that Haneke's reputation is somewhat overrated. Although his best films represent a strong condemnation of the presentation of violence in the media and an effective study of extreme forms of human behavior, his works are often marked by elitism, pretentiousness and mannerist style. [ABSTRACT FROM AUTHOR]

The paper centres on the most successful of the numerous attempts to register/recreate the psychedelic experience in film. One of the key assumptions is the fact that there is a strong conceptual link between the cinematic and psychedelic experience and some claim that film is by its nature the most psychedelic of all mediums. The paper also discusses cultural/artistic productions that explored this link. The starting point is also the fact that LSD attracted filmmakers as much as film attracted the psychedelic movement so the cultural fusion between the film and the psychedelia in the 1960s did not happen by chance. The emergence of the New Hollywood, the introduction of new countercultural lifestyles and the use of drugs became an inseparable part of the scene. There is also a parallel story about experimental/avant-garde filmmakers who developed their own aesthetics in line with new acid sensibilities, becoming an inseparable part of the emerging scene of psychedelic mix-media events, where film got to play the central role. The text then takes us to the second part of the 1960s, when psychedelia already imbued the whole spectrum of film productions and when LSD found its place in the background texture of films that otherwise did not centre on the psychedelic movement and up until the moment when LSD in film became a number 1 controversy. This is followed by a discussion about a new generation of experimental/avant-garde filmmakers in the U.S. (New American film), out of which many were involved in the psychedelic movement. Psychedelic feature films focused on simulating the psychedelic experience using film techniques for the purpose of recreating feelings during an acid trip. However, such films aimed at stimulating the sensations of a psychedelic experience further, or rather making psychedelic conditions more intense. This simulation/stimulation was at the core of the attempt of the psychedelic feature film to “extend” the film, extending consciousness at the same time. Of course, this also meant creating an audience that would supplement the new manners of understanding the film through active viewing. [ABSTRACT FROM AUTHOR]

The paper written by Sandra Nikolić, film and media professor, explores the basic thesis of a very influential philosophy of film (filmosophy) by French thinker Gilles Deleuze, such as the “movement image” (L’image-mouvement) and the “time image” (L’imagetemps), on the example of the American narrative cinema thematising war and similar issues. Explaining how film in the US changed over time, for example because of the attack on the World Trade Centre on September 11, 2001, the author applies Deleuze’s categories as a fruitful manner of understanding the cinematic presentation of war and destruction in the most influential cinema of the West. She also explains the motifs such as “terrorism” and the “war on terror”, relying in addition on the examples of films by non-American authors that mirror the mentioned tendencies or that have their themes and ideas created in contrast to the American model (for example, to the presentation of war in small-scale, European cinema). With series (such as 24) and films ranging from works by Adrian Lyne and Oliver Stone to films by J. J. Abrams and Steven Spielberg, the American culture, considers the author, has managed to dominate on global level, creating new forms of global consumption and a new, contemporized culture of imperialism. [ABSTRACT FROM AUTHOR]

According to philosopher Jean-Luc Nancy, the contingency of our naked experience as an ontological question is the main challenge of our existence in contemporary global society. Applying film anthropology methods, the paper interprets Claire Denis’ films as films that dissolve identities, boundaries and body. The French cineaste floats between cold distancing, voyeurism, and curiosity for outsiders of all kinds, losers prone to different forms of transgression, misfits on the verge of Western societies. While the act of directing comes through the body, Denis’ characters move through big cities and exotic landscapes as if they were not actually present, they exist in a crack, between several worlds. The author of the study detects how foreignness and alienation present themselves in different forms in Denis’ films, ranging from the early works Chocolat (1988), and No Fear, No Die (S’en fout la mort, 1990), to the films such as White Material (2009), and Bastards (Les salauds, 2013). [ABSTRACT FROM AUTHOR]

Relying of historians and film scholars such as R. A. Rosenstone, William Guynn and Marnie Hughes-Warrington who tried to justify historical film (as genre) and the film that deals with history (irrespective of type and genre) as relevant sources for studying history, this paper questions the possibility of interpreting historical films as texts whose interpretation is subject to linguistic games discussed by Barthes, Blanchot and Derrida in their late key texts. This is an attempt to demystify the genre of historical film as an unambiguous authentic presentation of something from the "extracinematic" empirical "reality", and a return to the interpretation of the code which at the same time checks and "unchecks" the genre and finally a conciliation of historiography and film studies with a conclusion that every historical text can be educational precisely because it is susceptible to interpretation. [ABSTRACT FROM AUTHOR]

The paper addresses the state of Croatian film heritage and it questions the relationship between competent institutions and the whole society regarding the issue. This relationship is best reflected in two facts. On the one hand, not even today, in 2020, does Croatia have an institution that would exclusively deal with an important segment of our history and culture - film industry. On the other hand, not even today, in 2020, nineteen years after the Agreement on Succession Issues was signed, not a single piece of film material foreseen to be returned has been given back. [ABSTRACT FROM AUTHOR]

The paper presents an overview of the basic hypotheses and notions from Ante Peterlić's book Fundaments of a Film Theory, on the occasion of the fifth edition of the book. It also presents a critical attempt at the analysis of some underlying topics from the perspective of the theoretical work by Hrvoje Turković (editor of this book edition). [ABSTRACT FROM AUTHOR]

This paper aims to determine some of the basic structural principles of the film Last year at Marienbad (L'année derniere a Marienbad, 1961) by Alain Resnais. The film confused generations of viewers and critics with its radical discontinuity, fragmentation (or disappearance) of the plot, and excessive hermeticism. The difficulties of interpretation stemming from such structure were typically solved in one of the two ways: the film was viewed as the presentation of the state of consciousness or unconscious processes (and considering the non-chronological and alogical nature of the unconscious such interpretation rendered the questions about time and logic of narration irrelevant) or it was viewed, following the suggestions made by the screenwriter Alain Robbe-Grillet, as a series of images with individual aesthetic value (which once again rendered the question of their relationships irrelevant). A careful analysis focusing on the three aspects of the film - the relationship between the fabula and the plot, the homodiegetic and heterodiegetic narrator and flashbacks and linear narration - shows however that none of the mentioned traditional interpretations encompasses all the elements of Resnais' work: narrative mechanisms of the film gain their full meaning only after having taken into account the continuous oscillation between the depth (the psychic) and the surface ("beautiful images"), the definite and indefinite temporal relationships, and the structure and that which evades. [ABSTRACT FROM AUTHOR]

Irrespective of whether it is the western, or rather European, oppressive discourse over the area of the Balkans or it is the reproductive self-orientalism pertinent to the Balkan cultural production, the adjective Balkan has always been linked to a derogatory meaning, and the noun the Balkans, apart from differing and different, has always been marked as inferior, insufficiently good, and often also as monstrous. Analysing the directorial debut by Hollywood actress and director Angelina Jolie, symbolically entitled In the Land of Blood and Honey (2011), the paper aims to deconstruct the process of the creation of the universal language by which the Balkans as the "faraway world" is translated to the global audiences and to contribute to explain the origin of the accumulated "knowledge" on the Balkans as a network of gender and cultural stereotypes. [ABSTRACT FROM AUTHOR]

The paper explains how films are financed in Montenegro considering the possibilities of a national smallscale film industry and the possibilities of co-production financing alongside some critical considerations relating to the lack of cultural policies in that country (only in 2004, after a ten-year pause, was the Montenegrin feature-length film production restored). Special attention is dedicated to the regional context but the co-production policy is explained in the broader European context. [ABSTRACT FROM AUTHOR]

The paper analyses the virtual representation of the national identity in films made in Croatia in the last decade of the 20th century. The analysis will serve as a contribution to studying the relationship between the dominant ideological pattern and film within the framework of a specific social context. Anthony Smith's concept of the national identity visual construction serves as an analytical grid of sorts on the basis of which it is established whether and to what extent have films made in Croatian constructed a coherent picture of the national identity. [ABSTRACT FROM AUTHOR]

The aim of this paper is to describe what would be considered Kubrick's style and to understand heterogeneity within his body of work by pointing out to the systems of choices (be it in terms of form or content) that the author made and in doing so to find common features within specific configurations of his films. All of his films will be taken into account but special attention will be dedicated to two films, one from the earlier phase (Paths of Glory, 1957) and the other from the middle phase (2001: A Space Odyssey, 1968). [ABSTRACT FROM AUTHOR]

Could acting be described as a meeting place of the actor and the viewer or rather a meeting place of the film character and the viewer? The problematic starting point is reflected in the question of whether it is possible to link the affective experience of an individual with the intense experience of catharsis triggered by acting and what in fact is cathartic about acting? Back in 1941, among many, the long forgotten stage critic and dramatist Camilla Lucerna dealt with the understanding of catharsis in the tradition of the ancient Greek thought. Her inventive thinking entitled "Aristotle's catharsis" was published only in 1995 in the magazine Theatre & Theory. The author of the paper tries to load Lucerna's interpretations in the semantic field of the contemporary Croatian writer Dubravka Crnojevic-Caric whose study Gluma i identitet: o glumi i melankoliji (2008) became important for the new understanding of acting. Therefore, in the context of a dialectic relationship between acting and identity the intention is to position the meaning of catharsis behind which there is Lucerna in understanding the identity of the actor according to the interpretation given by Crnojevic-Caric. [ABSTRACT FROM AUTHOR]

In the first place the text deals with the meaning and aesthetics (style) analogy between the films The Rat Savior (1976) by Krsto Papić and The Cabinet of Dr. Caligari (Das Cabinet des Doktor Caligari, 1920) by Robert Wiene. In this context, the author of the paper analyzes ambivalences (both in the sense of film endings but also in the sense of stylistic features of both films), expressionism features (insisting on contrasts between light and dark in scenes which are dramatically relevant for the plot, psychological effect on the viewer), romanticism tradition of the motif of the doppelganger, as well as the motif of madness. This madness, as follows from the text, denotes not just historic and concrete socio-political twists and evils, but also the idea of universal evil, eternally unrecognizable and covert, and therefore constantly and latently present. Expressionism - as an eclectic style of taking over properties pertaining to other styles (Gordon, 1987), and there are stylistically diverse but still dark offsprings of the history of art intertwined in the opening credits of the film The Rat Savior - in that sense helps the film director repeat the historical status of Dr. Caligari as the origin of the socalled caligarism, a term coined in the French theory of film which as interpreted by Walter Kaul (1970) at the same time means stylization and provoking the phenomenon of horror and chill with the viewers. The ending of the film The Rat Savior, after evoking a dark atmosphere, chill, and expressionist features, brings the "effect of the unusual", as stated about Caligari by Dietrich Scheunemann (2003): instead of a resolution there is confusion, blurring the difference between reality and imagination. The same author states that the presentation of the unreal in Caligari is key to understanding the film medium as such: spooky shadows and duplicated persons also appear, we think, in The Rat Savior, which is visible also from the more recent reviews of films as artificial and modernist works. One of the conclusions of the author is that the form is not imposed on the plot, but that it necessarily derives from it, symbolizing the emotion of madness by deforming realistic presentation, at the same time following the ideas of the art designer/ director to express that emotion primarily through expressionist features. [ABSTRACT FROM AUTHOR]

Igor Bezinović (Rijeka, 1983), formed his personal body of work in the domain of alternative film, from short length and experimental to unconventional documentary film of different length. With his physical and intellectual presence in the discourses related to customs, myths, political and social relations, culture and civilization of the 20th and early 21st century, which presents the foundation of his films, this author rose to the position of a creator actively engaged in the social fabric. Production and artistic strategies of minimalism, political and theoretical awareness of the position of the cinematic margin, as well as engagement in the domain of art activism, have made Bezinović a consistent, independent author and cleared his path towards professional live action cinema, with his live action experimental full-length film A Brief Excursion that won him a Grand Golden Arena for Best Film at 2017 Pula. This paper aims at analyzing aesthetic and theoretic starting points and procedures in Bezinović's work, as well as social, political and cultural meaning of the outcomes of his artistic explorations. [ABSTRACT FROM AUTHOR]

At the beginning of 2017, the soundtrack for Dušan Vukotić's film Visitors from the Galaxy (1981) - an album featuring music by Tomislav Simović - drew a lot of attention. The sound premiere of this film in the form of a vinyl LP record is the basis for this paper which centres on this cult classic. In the introductory part, the author places the film in a historical context, determines the length, type and genre, and in that context presents Vukotić and Tomislav Simović and their work. Apart from this, the co-production with Czech cinema is taken into account as an important factor, cooperation with animator Jan Svankmajer in particular. The film is presented primarily through the analysis of music as an integral part/element of film discourse. This is followed by a detailed focus on the soundtrack as autonomous work, presented as an extremely important step in the disclosure and preservation of the very often neglected film-music art by way of a new edition in an analogue mode (LP record). [ABSTRACT FROM AUTHOR]

The author of the paper displays and questions theatralization strategies present in the American TV serial Twin Peaks (1990-91) by David Lynch and Mark Frost. Influenced by the tradition of the avant-garde, Twin Peaks is ripe with procedures often linked to theatre involving overacting, hyper-dramatization, frequent use of static frames, presence of the motif of the stage, etc. The characteristics of those procedures are analysed with the help of the insights into film and theatre studies by Hrvoje Turković, Tracy C. Davis and Thomas Postlewait, and with a special reference to psychoanalytic considerations by Elizabeth Freedman, according to whom theatralization is realized within a special relationship between the audience and a specific audio-visual work, based on the spectators' experience of the so-called stare, creepy duplications and tragic blindness, recognizable also in Twin Peaks. Having a pronounced potential to provide insight and to encourage audience to approach fiction and reality in a critical manner, theatralization procedures represent an important stylization characteristic of the serial which contributed greatly to its artistic and historical relevance. [ABSTRACT FROM AUTHOR]

The author depicts the relationship between two works created within a short period of time, during the bombardment of Dubrovnik on the early morning of December 6th, 1991. The first work is a series of 12 photographs that Pavo Urban took right before he was killed by an exploding grenade, and the second is a film recording by Miroslav Tomšić that ends with an image of a dead photographer. The author tries to look at both works through the terms coined by French philosopher Gilles Deleuze – the movementimage and the time-image, as well as the general corelation between photography and film. The second link tackles the comparison of the two works with the famous painting Las Meninas by Spanish Baroque painter Diego Velázquez, trying to look at similarities related to time and space. [ABSTRACT FROM AUTHOR]

A number of studies indicate that many countries face the problem of ensuring access to diverse films due to the dominance of feature films produced in the USA. In these circumstances, spectators are expected not to develop interest in diverse films. In this paper we will examine the interest of the Croatian audience in diverse films considering the country of origin of the film, time of production, and type of film (documentary and educational, feature film, animated film). The survey was conducted among visitors of Croatian national libraries' web sites. This is the first survey of its kind in Croatia. [ABSTRACT FROM AUTHOR]

Animated film represents one of the most prominent aspects of animation and a complex combination of media formats. However, its interdisciplinary tendencies introduce certain problems when it comes to its theoretical classification. This paper examines relevant theories and animated film characteristics in terms of aesthetics, media and technology, in order to depict the complex nature of animation and animated film as media that combine the cinematic and fine arts artistic activities. [ABSTRACT FROM AUTHOR]

The Oedipus complex theme has been tackled in classical narrative films in which one learns about the psychological condition of the protagonist on the basis of his behaviour, actions and conversations. In surrealist films examining the same theme one learns about the protagonist's psychological condition in a different manner. Instead of focusing on a logical sequence of events, in those films we need to firstly focus on director's actions - frame selection, colour stylization and type of shot. Already on the basis of these elements one can learn something about the psychological condition. Furthermore, we need to follow individual, seemingly unconnected situations in which the character finds himself/herself. This is why situations allowing for an interpretation of a boy's relationship with his mother and father, problems of growing up, and the consequences of those problems will be thoroughly analysed. In order for family relations and consequences of those relations to be clearer, they are complemented with the presence of symbols. It is important to interpret each of them, having in mind the cooperation between those symbols and situations. The interpretation is not arbitrary if it is in line with the meaning of situations in which the character finds himself/herself. Situations and symbols make surrealist films unique and comprehensive in terms of the approach to the protagonist's mind. The paper uses the example of the films Long Live Death (Viva la Muerte, Fernando Arrabal, 1971), I Will Walk Like a Crazy Horse (J' irai comme un cheval fou, Fernando Arrabal, 1973), Pastoral: To Die in the Country (Den-en ni shisu, Shūji Terayama, 1974), Holy Blood (Santa Sangre, Alejandro Jodorowsky, 1989), Léolo (Jean-Claude Lauzon, 1992), Brand upon the Brain! (Guy Maddin, 2006), and Surviving Life (Přežít svůj život, Jan Švankmajer, 2010). [ABSTRACT FROM AUTHOR]

The paper examines different dimensions of the philosophical, dramatic and therapeutic dialogue practice, as well as the “anti-narrative” of drive using the example of the 2013 Lars von Trier's Nymphomaniac: Vol I & Vol. II. Joe, the protagonist, is comparable with Coriolanus from Shakespeare’s tragedy of the same name, achieving similarity precisely in terms of social instrumentalization of the body, fear of intimacy and difficulty to liberate herself from systematic emotional self-starvation. However, Von Trier also stages the flip side, i.e. betrayal of intimacy, which will remain the centre of his attention from Medea onwards (1988). [ABSTRACT FROM AUTHOR]

This paper examines the beginnings of Tošo Dabac's professional film career. Dabac started off as publicity manager and translator at Fanamet in 1927. Later on, he started working for the Zagreb Metro Goldwyn Mayer branch-office again as publicity manager and translator as well as the editor of the Metro megafon magazine. In 1929, he participated in the creation of the film Water for Courage (Vodica za kurajžu), presented at the Zagreb cinema Europa Palace. He photo-documented the shooting of several films, such as Dancing in Nature (Ples u prirodi, Oktavijan Miletić, 1935), Baroque in Croatia (Barok u Hrvatskoj, Oktavijan Miletić, 1942) and The Flag (Zastava, Branko Marjanović, 1949). [ABSTRACT FROM AUTHOR]

From imitating one medium in another to developing the autochthonous language of videogames, we can follow the similarities and differences between film and videogames. Using the theoretical framework of film studies (Turković, Peterlić, Bordwell) and ludology (Ryan, Aarseth, Galloway) - computer games theory, the paper examines convergence between film and videogames. The authors examine the relationship between videogames and film, putting a special emphasis on their narrativity. Intervention activity and video screen are described as two crucial elements of videogames. While the screen is characteristic of both mediums, the intervention activity is specific to videogames, the reason why more attention is dedicated to this element. As most pronounced forms of convergence, adaptation, imitation and quotes are thoroughly examined. [ABSTRACT FROM AUTHOR]

This paper is aimed at secondary school teachers and it gives an example on how to teach the unit The Diving Bell and the Butterfly (Le scaphandre et le papillon, Julian Schnabel, 2007) in secondary schools. [ABSTRACT FROM AUTHOR]

Although it is problematic to single out films based on the gender of their author, the invisibility (until recently) of female directors in the case of post/ Yugoslav and western canon of experimental cinema openly calls for such a move. On the basis of the archival research of Yugoslav experimental cinema and two studies offering a correction of the existing Western canon (Women and Experimental Filmmaking, 2005 and Women's Experimental Cinema, 2007), the paper presents the works of particular female directors of the Western experimental film and refers to the works of female authors who were active in the Yugoslav context between the 1960s and 1980s. Furthermore, the author analyses the reasons for their marginalization and singles out the dominant themes and poetic elements in their work that serve as a navigation framework through the presented filmography. At the same time, this means that the overview is partial and serves as a starting point for researching this art movement. [ABSTRACT FROM AUTHOR]

Based on Bordwell's conclusions regarding the 1960s European art film as the cinema that “tames” avantgarde and early modernist techniques, such as stream of consciousness, the author of the paper supports the idea that Vatroslav Mimica’s Monday or Tuesday (1966) is a typical representative of such cinematic style. Moreover, he analyses the relationship between modernity and the Holocaust in Mimica’s films, or rather the use of modernist techniques in order to tackle the theme of the dark side of the rationalized, alienated and bureaucratized modernity that produced the Holocaust in the first place. Tomislav Šakić's phrase “the ongoing Holocaust” adequately describes the approach to this theme in Mimica’s insufficiently researched film. [ABSTRACT FROM AUTHOR]

Network narrative is the term used for a type of film story, especially frequent since the beginning of the 1990s, which connects several interconnected narrative lines, most frequently united by a space and time framework and thematic parallels. Following the overview of the historical development and network narrative conventions in the first part of the paper, and then dominant interpretation models in the existing film production relating to the topic (it is particularly interesting that this form of narration was strongly developed in the 1990s in different film industries), in the final part the author gives an overview of the impact of the form on national cinemas on the example of Swedish film. In order to explore this phenomenon, it is important to analyse David Bordwell. However, the author also makes use of the studies and reviews by other foreign and Croatian film scholars and critics. [ABSTRACT FROM AUTHOR]

Hinglish (a blend of Hindi and English) is a language spoken by 350 million people, according to the linguist David Crystal. It belongs to a young generation of India, but also of Great Britain and the USA as well as other countries with Indian diaspora, a population living in the age of liberal economy, globalization, international cultural influences and social changes. The term is also used for the most recent film production, of the past twenty years, aimed at urban, active Indian audiences, interested in the critical reflexion of reality. The authors of this new film expression very often tackle taboo topics from Indian society: sexuality (particularly homosexuality), false morals, unemployment, corruption, the fickleness of politicians, etc. Hinglish is the characteristic of a brave, intriguing, exciting film expression, standing between what we know as the popular (Bollywood) film and the Indian regional, parallel, art house cinema. Hinglish is the expression of a young generation of directors who address the also young, educated audience, brought up on the Indian, as well as European and American cinematic heritage. The new film expression very often fights against censorship in India so a large number of Hinglish films had to wait for the screening authorization for several months, even years, and some films have never been approved for public screening. Despite this fact, they have been selected and awarded at the biggest world festivals, from Cannes, Venice, Berlin and Rotterdam to Locarno and Toronto. The humour, the irony, playful dialogues, discreet acting and exciting narrative structure, the relevance of themes and the uncompromising overview of pressing social and political issues characterise the new film expression that brought dynamism and freshness to Indian cinema. In this paper the author analyses some of the films by Dev Benegal, Partho Sen-Gupta, Aparna Sen, Rajat Kapoor, Nagesh Kukunoor, Shonali Bose, Kaizad Gustad, Sudhir Mishra. [ABSTRACT FROM AUTHOR]