1st Edition
The Archaic in the Yugoslav Cinema of the 1960s Modernity’s Discontents in a Post-Revolutionary Film Industry
Introduction: Entering the Golden Age
1. Coming to Terms: The Archaic
2. The Yugoslav Celluloid Archaic: A Panorama
II. Setting the Figures in Motion: The Game of the Archaic on the Yugoslav 1960s Screen
3. Balkanism: The Time-Lag of Realia
4. In the Future, in the Past, Under the False Appearance of a Present: Miroslav Krleža’s Timings of Yugoslav Culture
5. Bloody Weddings and Funeral Bells: Representations of History in Trajče Popov’s Macedonian Bloody Wedding and Antun Vrdoljak’s When You Hear the Bells
6. Parody and Naiveté: Ante Babaja’s The Birch Tree and Dragoslav Lazić’s Poor Mary
7. Two or Three Things I Know About Burduš: Mića Popović’s Burduš and Aleksandar Petrović’s It Rains in My Village
Closing Remarks on Backwardness and Vitality
III. Revenge on Representation: The “Move 3” in the Game of the Archaic on the Yugoslav 1960s Screen
8. Images, Revolutions (and Their Crusts)
9. Beauty and the Well: Dušan Makavejev’s Love Affair, or The Case of the Missing Switchboard Operator
10. Yet Another Effort Yugoslavs, If You Would Become Communists: Želimir Žilnik’s Early Works
Concluding Remarks on the Game of the Archaic
Bibliography
Biography
Adrian Pelc is a postdoc assistant in the Department of Slavic Studies, University of Vienna, Austria. His interests include Yugoslav cinema, cultural studies, and critical theory.
