@article{Rezoničnik_2018, title={Modernist narrative techniques in the screen adaptation of the novel „Minuet for Guitar”}, volume={24}, url={https://pressto.amu.edu.pl/index.php/bp/article/view/9876}, DOI={10.14746/bp.2017.24.9}, abstractNote={<p><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">This contribution focuses on the novel „Minuet for Guitar”, by Slovenian author Vitomil</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">Zupan, and its film adaptation, entitled „Farewell until the Next War”, by Serbian director Živojin Pavlović. Firstly the article deals with the novel from the perspective of modernist</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">narrative devices, and secondly it focuses on the analysis of its cinematic adaptation. Based</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">on the anthropological-morphological method of film analysis it establishes that Živojin</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">Pavlović used modernist narrative devices in film. Furthermore it studies how and through</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">which cinematic forms of expressions and methods stream of consciousness and memories are</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">shown, as well as how essayistic style, fragmentariness, and associative style are expressed in</span><span style="color: black; font-family: ’Times New Roman’,’serif’; font-size: 12pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">audio-visual representation.</span></p>}, journal={Balcanica Posnaniensia. Acta et studia}, author={Rezoničnik, Lidija}, year={2018}, month={Feb.}, pages={143–154} }