Živojin Pavlović in partizanski film: razgradnja vizije pridobitev vojne in revolucije

Andrej Šprah

Povzetek:

Članek obravnava kritiko ideologije, kakršno je v svoji partizanski trilogiji, ki zajema filme Zaseda, Hajka in Nasvidenje v naslednji vojni, izvedel eden najvidnejših predstavnikov novega jugoslovanskega filma oziroma »črnega vala« Živojin Pavlović. V treh docela različnih pristopih k vizijam pridobitev vojne in revolucije, ki pa se na specifičen način vendarle dopolnjujejo, je njegova kritična ost uperjena zlasti v zavračanje kolektivnih mitologij. Namesto principa kolektivizacije, ki se je v nekdanji Jugoslaviji uveljavil kot najlegitimnejša oblika obravnave dogodkov narodnoosvobodilnega boja, se zavzema za načelo individualizacije, v katerem se politični film odraža kot način prelamljanja travmatičnih dogodkov skozi usodo posameznika.

Abstract:

Živojin Pavlović and Partisan Film: The Decomposition of the Vision of the Gains of War and Revolution

The article examines the critique of ideology carried out by Živojin Pavlović, one of the most prominent representatives of the Yugoslav New Wave or “Black Wave”, in his partisan trilogy consisting of The Ambush, Manhunt and See You in the Next War. In three quite different approaches to the visions of the gains of war and revolution, which in a specific way nevertheless complement each other, his critique aims especially at the rejection of collective mythologies. Instead of the principle of collectivisation, which became established as the most legitimate form of treating the events of the National Liberation Struggle in former Yugoslavia, he espoused the principle of individualisation according to which a political film is manifested as a way of breaking traumatic events through the fate of an individual.