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Скупљачи непријатеља и њихово доба: Живојин Павловић и Александар Петровић
Enemies gatherers and their time: Živojin Pavlović and Aleksandar Petrović
Раловић, Ивана
Summary: The abundant and artistically diverse work of Živojin Pavlović (1933–1998) provides numerous interpretive possibilities from different research perspectives and orientations, and in this paper Pavlović’s creative oeuvre and ideas from the 1960s are viewed in parallel with the directorial and theoretical oeuvre of his contemporary Aleksandar Petrović (1929–1994). These directors, along with a group of their contemporaries, have introduced the Yugoslav film to the very top of the world, but to this day they are followed by reputation of the New Wave followers who had been chased by the local ideology as the Black Wave followers. Associated with the dominance of a particular value in a series of films and resulting in a political labelling, the Black Film will remain as an enduring epithet alongside of their names. Both Pavlović and Petrović were heavily influenced by the prose of F. М. Dostoevsky. Pavlović’s film The Enemy (Непријатељ) derives from Dostoyevsky’s novel The Double (Двојник), based on this scenario he wrote the novel Cain and Abel (Каин и Авељ) (1969), which was edited under the title The Enemy (Непријатељ) (1986), while The Deserter (Дезертер) (1992) is an adaptation of the short novel The Eternal Husband (Вeчный муж) of Dostoevsky; Petrović’s film It Rains in My Village (Биће скоро пропаст света, 1968) was filmed inspired by Dostoevsky’s Demons (Бeсы), but both directors’ roots of relations in respect of Dostoevsky are much deeper. In addition, they have in common a series of filmings inspired by the prose of Antonije Isaković (Pavlović’s film The Ambush (Заседа) according to motifs of Antonije Isaković’s short story For the Third Time (По трећи пут) and according to his own short story The Legend (Легенда) and Three (Три) by Saša Petrović as a film adaptation of Isaković’s four short stories: In the Sign of April (У знаку априла), The Kite (Змај), The Fern and the Fire (Папрат и ватра), and Melons (Диње), making high-rated films that resulted from translating literature into the language of moving images, making films on their own scenarios; working on documentaries, seductive documentarism in their feature films; in addition to film he had an additional art education (at a young age, Pavlović was interested in fine arts, he opted for decorative painting studies at the Academy of Applied Arts, and “several of his drawings and watercolors of that period were reproduced in 1990 in his book of autobiographical prose, Azbuka, Petrović studied Art History), living and working outside of Serbia, writing anonymous screenplays, (extremely rich Pavlović’s and modest in scope Petrović’s) literary creative works, rewarded with international awards, and on the other hand, biographical, artistic and documentary material available to us, as well as other sources produced by the cultural memory, indicate an ambivalent relationship between them. Petrović suggested that Pavlović direct the movie on the screenplay A True End of the Weekend (Прави крај викенда), which Petrović had written earlier, but never came to fruition; their relationship hovered in the split between appreciation and deep animosity. The common traits in their career trajectories were the fight for freedom of expression and the so-called the entry of social criticism into the film, which led to numerous bans and censorship of their virtual worlds, political persecution and discrimination that deeply marked their careers. From today’s perspective, in the case of Pavlović and Petrović, ostracization is a kind of honor, though unpleasant – still an honor.
Апстракт: Богато и уметнички разноврсно стваралаштво Живојина Павловића (1933–1998) пружа многобројне могућности тумачења из различитих истраживачких перспектива и оријентација, а у овом раду Павловићев стваралачки опус из шездесетих година ХХ века, као и идеје, посматрају се паралелно са редитељским и теоретичарским опусом његовог савременика Александра Петровића (1929–1994). У низу филмова које су снимили, посебно место заузимају они који су настали на основу литерарних предложака. И Павловић и Петровић стварали су под великим утицајем прозе Ф. М. Достојевског. Тачка сусрета су борба за слободу израза и ауторски филм, бројне забране и цензуре њихових виртуелних светова; заједнички су им заводљиви документаризам у играним филмовима; поред филмског и додатно уметничко образовање оба ствараоца; а нама доступна биографска, уметничка и документарна грађа, као и други извори које је култура сећања изнедрила, указују на амбивалентан однос, од сарадње и уважавања, до личних анимозитета двају великана југословенског црног таласа односно новог југословенског филма.
srpski
2023-05-05T14:15:08.890Z
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Кључне речи: Ж. Павловић, А. Петровић, филм, нови југословенски филм, црни талас, ауторски филм, критички активизам, остракизација, забрана.
Keywords: Ž. Pavlović, A. Petrović, film, new Yugoslav film, Black Wave, auteur film, critical activism, ostracization, ban.
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