Concert and a Question of Time
PDF (Język Polski)


Branko Belan
Croatian film

How to Cite

Pająk, P. (2018). Concert and a Question of Time. Poznańskie Studia Slawistyczne, (13), 263–277.


The focus on the structural and semantic role of time is one of the key features of modernist cinema in the period after the Second World War. Modernist filmmakers experiment with means of aesthetic expression, such as montage, mise-en-scène, camera work, which define the story time and consequently make time the subject of film story. Concert (1954) directed by Branko Belan initiates the modernist experiment with time in the Croatian feature film. Belan achieves a radical temporal discontinuity and the condensation of time thanks to extensive ellipses, expanded flashback, deep space composition, variable narrative perspective, variable position of the characters in the story and genre hybridity. In this way he specifies two dimensions of time – historical and personal. In Concert historical time does not always affect personal time that can be subjected to fate. By that means the director contests the communist belief in the positive impact of historical changes on the life of an individual.
PDF (Język Polski)


Bordwell, D., Thompson, K. (2010). Film Art. Sztuka filmowa. Wprowadzenie. Przeł. B. Rosińska. Warszawa: Wydawnictwo Wojciech Marzec.

Deleuze, G. (2008). Kino. 1. Obraz-ruch. 2. Obraz-czas. Przeł. J. Margański. Gdańsk: słowo/obraz terytoria.

Donat, B. (2007). Krugovaši u Belanovu Koncertu. „Vijenac”, nr 358. 26.05.2016.

Gilić, N. (2006). Recepcija Koncerta Branka Belana. Moderna mitologija napretka kao kriterij vrednovanja. W: Komparativna povijest hrvatske književnosti. Zbornik radova VIII. (Hrvatska književnost prema europskim, emisija i recepcija 1940–1970.). Red. C. Pavlović, V. Glunčić-Bužančić. Split: Književni krug, s. 224–238.

Gilić, N. (2011). Uvod u povijest hrvatskog igranog filma. Zagreb: Leykam international.

Gojun, V. (2002). Elipse i njihova retoričnost u filmu Koncert Branka Belana. „Hrvatski filmski ljetopis”, nr 29, s. 181–186.

Kovács, A.B. (2007). Screening Modernism. European Art Cinema, 1950–1980. Chicago: The University of Chicago Press.

Martin-Jones, D. (2006). Deleuze, Cinema and National Identity. Narrative Time in National Contexts. Edinburgh: University Press.

Płażewski, J. (1982). Język filmu. Warszawa: Wydawnictwa Artystyczne i Filmowe.

Šakić, T. (2004). Hrvatski film klasičnog razdoblja: ideologizirani filmski diskurz i modeli otklona. „Hrvatski filmski ljetopis”, nr 38, s. 6–34.

Šakić, T. (2006). Koncert: scenarij Vladana Desnice i film Branka Belana. „Književna republika”, nr 3–4, s. 88–97.

Šakić, T. (2009). Gromoglasni šapat. W: T. Čegir, J. Marušić, T. Šakić. Hrvatski filmski redatelji I. Zagreb: Hrvatski filmski savez, s. 65–71.

Šakić, T. (2013). Hrvatski igrani film 1950-ih između klasičnog stila i ranoga modernizma. W: 60 godina igranoga filma u Puli i hrvatski film. Zbornik radova. Red. N. Gilić, Z. Vidačković. Zagreb: Matica hrvatska, s. 29–56.

Turković, H. (1988). Važnost pozadine kadra. W: H. Turković. Razumijevanje filma. Ogledi iz teorije filma. Zagreb: Grafički zavod Hrvatske, s. 39–40.

Turković, H. (2005). Vrednovateljski obrat: recepcija Koncerta nekoć i danas. W: H. Turković. Film: zabava, žanr, stil. Rasprave. Zagreb: Hrvatski filmski savez, s. 281–321.

Zeic-Piskorska, M. (1986). Istota czasu filmowego – wstępne propozycje i ustalenia. W: Zagadnienia interpretacji dzieła filmowego. „Studia Filmoznawcze”, nr V. Red. J. Trzynadlowski. Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego, s. 147–160.


The authors of the articles accepted for publication in the journal Poznańskie Studia Slawistyczne are obliged to fill up the contract for providing the journal free licence (along with sub-licence CC) to works. The contract should be also signed by the authors and sent back to the editorial board of the journal.

Under the terms of the contract, the authors of the texts published in the journal “Poznańskie Studia Slawistyczne” provide the University of Adam Mickiewicz in Poznań with a non-exclusive free licence and allow the aforementioned institution to use the sub-licence Creative Commons Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0).

The authors hold the copyright for their texts.


The Internet users are eligible for using the works published in “Poznańskie Studia Slawistyczne” from 2015 under the following conditions:

  • recognition of the authorship: the popularized work must contain information about the author, title, source (references to the original work, DOI) and licence.
  • no derivative works may be created: the work must be preserved in its original form, the work’s translations or elaborations cannot be distributed without the author’s permission.

The copyright to the texts published before 2015 is reserved.


The University of Adam Mickiewicz in Poznań holds the right for the entire journal (its segmentation, graphical form, title, cover design, logo, etc.).


Download data is not yet available.