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Additional resources for A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic
He explains: However paradoxical it may appear, the necessary pre-condition for the adaptation of poetic literary material would be the complete elimination of literary structures. 172 Further on in this essay, Petrović reiterates that cinema is “image and sound”173 confirming his belief in the need for cinema to reaffirm its own language based purely on cinematic means. In this respect, this article, published in 1951, demonstrates that Petrović’s thinking on cinema was very close to what was then of interest in film theory worldwide, specifically to the ideas then being pursued by André Bazin, the editor of Cahiers du Cinéma.
The Years of War Aleksandar Petrović predominantly commits his autobiography All of My Loves to his memories of World War II, describing lessons he learned from its diverse but overwhelmingly traumatic events. The war for him was undoubtedly a formative experience out of which it is important to outline several incidents, which could help understand his films and his motives for making them. Petrović spent most of World War II between Belgrade (where his family kept on moving as their house was destroyed in air raids) and a nearby village.
Furthermore, it was to be directed by the veteran actor Ilija Stanojević, with whom Botorić had already made a few short fiction films. 19 According to the Yugoslav film historians Petar Volk and Dejan Kosanović, Karadjordje was commercially very successful in Serbia. This was perhaps due to the fact that the Karadjordjević family took over the throne not long before the film was released, and was welcomed as a way of re-establishing the myth of Karadjordje, the dynasty’s founder, and the great leader and liberator.