This essay deals with certain aspects of Hajka (Manhunt) by Živojin Pavlović, one of the key directors of New Yugoslav cinema, which tackle problems of partisan struggle, war and revolution. Essay also questions the director’s “revisionist” part within the discussed genre context. On the first level Hajka is discussed in relation to partizanarica, a specific subgenre within the wider context of partisan film, “the only autochthonous film genre produced and nurtured by ex-Yugoslavia”. On the second level the essay deals with Živojin Pavlovič’s key creative strategies, among them with his focus on a collective hero which, during the film, individualizes himself through repeated deaths; and with the principle of allegorical intent and its dominant rule within tropologic dimensions of this unique cinematographic experience.

The integral version of this article can be found in the printed KINO!