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Additional info for A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic
124 This anecdote amused him decades later as he thought of himself – very much a city child – gaining a place at a prestigious school by singing an archaic folk song. 126 Before arriving in Prague, Petrović later claimed, he had been influenced by only a few films. 129 This disapproval may not be unfounded, if his style or sensibility perhaps came under the subconscious influence of the Czech director Václav Krška. 130 In 1947, when Petrović became a film student, his influences already indicated certain distinctive features of his later, mature work.
2. 178 He compares this magazine, edited by film director Vladimir Pogačić, to the French Cahiers du Cinéma. During these two years, those who contributed would later become the most important directors of the Yugoslav New Wave, or Black Wave as it was also known from the late 1960s onwards. R. 183 During the 1950s, 31 A Portrait of the Artist as a Political Dissident their articles were very much conceived from a Marxist perspective, but as with Raspor and Petrović, they assumed a role of the left intellectual as a critic and not an appeaser or propagator of party policies.
2 This was actually on 25 May 1896, because the “old” Julian calendar was then in use in Serbia (as in Tsarist Russia), and according to that calendar it was on 6 June, see: Dejan 33 A Portrait of the Artist as a Political Dissident 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Kosanović, “Sto godina filma u Srbiji”, in Filma Vek 1895–1995, ed. by Dejan Kosanović (Beograd: Jugoslovenska Kinoteka, SANU, 1995), p. 156. Radoslav Zelenović, “Vek filma”, in Filma Vek 1895–1995, ed. by Dejan Kosanović, pp.
A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic by Vlastimir Sudar