Keywords
1990s–2000s
Yugoslav period
film stylistics
classical film style
modernist film style
variants of film style
How to Cite
Abstract
This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic trends of both periods. The paper also analyzes two major stylistic configurations ‒ classical and modernist ‒ focusing on different variants of both aesthetic orientations. Variants of cinematic classicism (reduced and excessive classical style) are exemplified by the films of Krešo Golik and Fadil Hadžić, and by the films of Dalibor Matanić and Zrinko Ogresta from the contemporary period. On the other hand, variants of cinematic modernism (realist and psychological) are exemplified by thefilms of Vatroslav Mimica and Ante Peterlić from the 1960s, and in the contemporary period by thefilms of Zrinko Ogresta and Lukas Nola.
References
Bordwell D., Narration in the Fiction Film, London and New York 2008.
Bordwell D., Poetics of Cinema, London and New York 2008.
Bordwell D., Staiger J., Thompson K., The Classical Hollywood Cinema. Film Style & Mode of Production to 1960, London 1999.
Brlek T., Film, kritika, kontekst: “Sami”, “Hrvatski filmski ljetopis” 2002, no. 29, pp. 123–129.
Gilić N., Dokumentarističke tehnike otpora u igranom filmu i rani filmovi Tomislava Radića, in: Otpor. Subverzivne prakse u hrvatskome jeziku, književnosti i kulturi, eds. T. Pišković and T. Vuković, Zagreb 2014. Zagrebačka slavistička škola, pp. 9–20.
Gilić N., Filmski medij, in: Uvod u medije, ed. Z. Peruško, Zagreb 2011. Hrvatsko sociološko društvo, pp. 87–108.
Gilić N., New Croatian Cinema: Literature and Genre in the Post-Yugoslav Era, in: Small Cinemas in Global Markets, eds. L. Giukin, J. Falkowska and D. Desser, New York, London 2015, pp. 151–169.
Gilić N., Recepcija filmova Larsa von Triera i hrvatski film na prijelazu tisućljeća, in: Komparativna povijest hrvatske književnosti. Zbornik radova IX. Hrvatska književnost XX. stoljeća u prijevodima: emisija i recepcija, eds. C. Pavlović and V. Glunčić-Bužančić, Split 2007, pp. 380–395.
Gilić N., Tragovi modernizma 1960-ih u novijem hrvatskom igranom filmu, in: Komparativna povijest hrvatske književnosti. Zbornik radova XII. Istodobnost raznodobnog. Tekst i povijesni ritmovi, eds. C. Pavlović, V. Glunčić-Bužančić and A. Meyer-Fraatz, Split-Zagreb 2010. Odsjek za komparativnu književnost Filozofskog fakulteta Sveučilišta u Zagrebu, pp. 420–429.
Gilić N., Uvod u povijest hrvatskog igranog filma, Zagreb 2010.
Gray B., Stylistics: The end of a tradition, “The Journal of Aesthetics and Art Criticism” 1973, no. 4 (31), pp. 501–512.
Hirschfeld M., Croatian cinematic identity: A Balkan entity or a European individual?, “Studies in Eastern European Cinema” 2011, no. 1 (2), pp. 21–36.
Kovács A.B., Screening Modernism. European Art Cinema, 1950–1980, Chicago 2007.
Kragić B., Hrvatski film nakon 1990. – prijedlog stilske klasifikacije, “Sarajevske sveske” 2008, no. 19–20, pp. 235–241.
Kragić B., Izazovi “Amerike” u hrvatskom filmu i pisanju o filmu – esej o postupnoj realizaciji naslovne metafore, in: Prešućeno, zabranjeno, izazovno u hrvatskoj književnosti i kazalištu, eds. N. Batušić et al., Split 2007, pp. 527–536.
Kragić B., Klasični stil u historiografijama hrvatskoga filma, in: 60 godina Festivala igranoga filma u Puli i hrvatski film, eds. Ni. Gilić and Z. Vidačković, Zagreb 2013, pp. 81–99.
Kragić B., Neke tendencije klasičnoga filma: tri eseja, Zagreb 2017.
Laćan S., Concealing, revealing, and coming out: lesbian visibility in Dalibor Matanić’s Fine Dead Girls and Dana Budisavljević’s Family Meals, “Studies in European Cinema” 2015, no. 3 (12) pp. 229–245, <http://dx.doi.org/10.1080/17411548.2015.1094260> [accessed: 23.01.2017].
Lučić K., Filmski stil: teorijski pristup i stilistika hrvatskog igranog filma, Zagreb 2017.
Lučić K., The representation of minorities in contemporary Croatian film, “Umjetnost riječi” 2016, no. 3–4 (60), pp. 231–260.
Moss K., Three Gay Films from Former Yugoslavia, in: American Contributions to the 14th International Congress of Slavists, Ohrid, September 2008. Vol. 2: Literature, ed. D.M. Bethea, Bloomington 2008, pp. 125–138.
Pavičić J.,“Cinema of normalization”: changes of stylistic model in post-Yugoslav cinema after the 1990s, “Studies in Eastern European Cinema” 2010, no. 1 (1), pp. 43–56.
Pavičić J., Trendovi hrvatskog filma, “Hrvatski filmski ljetopis” 1997, no. 11, pp. 3–8.
Pavičić J., Usiljena učitavanja: filmska i književna kritika o hrvatskoj žanrovskoj proizvodnji, “Hrvatski filmski ljetopis” 2000, no. 22, pp. 35–37.
Robinson J.M., General and Individual Style in Literature, “The Journal of Aesthetics and Art Criticism” 1984, no. 2 (43), pp. 147–158.
Robinson J.M., Style and personality in the literary work, “The Philosophical Review” 1985, no. 2 (94), pp. 227–247.
Rucker-Chang S.T., Filmic representations of the Chinese presence in Serbia, Croatia, Bosnia and Slovenia, in: Chinese Migrants in Russia, Central Asia and Eastern Europe, eds. F.B. Chang and S.T. Rucker-Chang, London-New York 2012, pp. 199–220.
Šakić T., Modernizam u hrvatskom igranom filmu, Zagreb 2016.
Simić M., Forenzičarka feministica u akciji!, “Hrvatski filmski ljetopis” 2006, no. 45, pp. 64–69.
Škrabalo I., Hrvatska filmska povijest ukratko (1896–2006), Zagreb 2008.
Turković H., Film: zabava, žanr, stil, Zagreb 2005.
Turković H., Filmska opredjeljenja, Zagreb 1985.
Turković H., Nacrt filmske genologije, Zagreb 2010.
Turković H., Majcen V., Hrvatska kinematografija: povijesne značajke, suvremeno stanje, filmografija (1991–2002), Zagreb 2003.
Vidan A., Narativi drugosti i krize u južnoslavenskim filmovima novog milenija, in: Komparativni postsocijalizam: slavenska iskustva, ed. M. Kolanović, Zagreb 2013, pp. 331–350.
Vidan A., Spaces of ideology in South Slavic films, “Studies in Eastern European Cinema” 2011, no. 2 (2), pp. 173–192.
Vojković S., Subjektivnost u novom hrvatskom filmu: kritičkonaratološki pristup, “Hrvatski filmski ljetopis” 2006, no. 46, pp. 23–31.
License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.