FRANJO TU\u0110MAN IMAMO HRVATSKU I II DR FRANJO TU\u0110MAN WE HAVE CROATIA PARTS I II d

Franjo tuđman imamo hrvatsku i ii dr franjo tuđman

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IMAMO HRVATSKU, I-II / DR. FRANJO TUĐMAN: WE HAVE CROATIA, PARTS I-II, d.: Obrad Kosovac, 1992, or the head of the Army, Janko Bobetko, in SUDBINE: JANKO BOBETKO / DESTINIES: JANKO BOBETKO, d.: Miroslav Mikuljan, 1992). However, certain films managed to capture with empathy an individual, personal, but at the same time universal side of the distressing situation. There were some good documentaries that described a non-combat – “free time” – concerns of Croatian soldiers on the frontline (HOTEL SUNJA / THE SUNJA HOTEL, d.: Ivan Salaj, 1992), gave an impressionistic, poetic overview of both the nice and the gruesome sides of the country during the war (MOZART 1991, d.: Krasimir Gančev, 1992), or dealt with the subject matter more experimentally (DAS LIED IST AUS, d.: Ivan Faktor, 2002, about the war situation in Osijek). There was also a number of highly suggestive films dealing with the traumatic situation of war refugees, but also pointing out personal solutions that some of them came up with (such as a number of films by Petar Krelja – NA SPOREDNOM KOLOSIJEKU / AT THE RAILWAY SIDING; ZORAN ŠIPOŠ I NJEGOVA JASNA / ZORAN ŠIPOŠ AND HIS JASNA, 1992; SUZANIN OSMIJEH / SUZANA’S SMILE, 1993; KUKURUZNI PUT / THE MAIZE ROUTE, 1993;EVINA KLASA / EVA’S CLASS, 1996, AMERIČKI SAN / AMERICAN DREAM, 1998, and works by other directors, likeODRASTANJE GENERACIJE “V” / THE GROWING UP OF GENERATION “V”, d.: Nebojša Slijepčević, 2003). There were also a number of valuable films about the vastly different consequences of war, such as an exquisite work with a uniquely tragicomedic approach among the many films that dealt with the search for persons lost in the war - Čakić-Veselič’sDEČKO KOJEM SE ŽURILO / THE BOY WHO RUSHED, Neven Hitrec’s DVORANA / THE HALL, 1993 about the fate of a resort for the handicapped in wartime, or Mladen Dizdar’s NE PRILAZI / DO NOT COME CLOSE, 2003 about minefields and the country people’s unique way of clearing them. Some films dealt with the post-traumatic stress disorder of the war veterans (KRAPINA, POSLIJEPODNE / RADIO KRAPINA, d.: Jelena Rajković, 1997, and the recent PANJ PUN OLOVA / BAD BLUE BOYS, d.: BrankoSchmidt, 2007). There were also a few films that described the postwar depression 9
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among the young, like the suggestive NEBO POD OSIJEKOM / THE SKY BELOW OSIJEK.Eventually, there also appeared a number of daring, critical documentaries that dealt with retaliation atrocities committed by the Croatian side. Most of those were produced by Factum, as already mentioned in the paragraph on the company. Some ofthem, recently screened on the HRT and discussed in a special political talk show, came under attack by certain war veteran organisations.Additionally, traditional documentary topics not related to the war have been maintained throughout this time. There were films that dealt with the new unemployment crisis, like ČETVRTA SMJENA / THE FOURTH SHIFT(d.: Damir Čučić, 1999), about the people in their fifties who lost their jobs in the process of transition without any chance of reemployment, or GODINE HRĐE / THE YEARS OF RUST, about shipyard workers. Another dominant topic were the
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