The text presented here is a reflection on the term “New Serbian Film”. In the beginning, it deals with the origin and enforcement of this notion, which first appeared in film circles and was later accepted by the general public as a designation for a group of young authors’ debut films produced in Serbia between 2007 and 2011. The phrase was initiated by critic Dimitrije Vojnov with a view of exerting a more noticeable influence on film practise. At first this designation did not enjoy the support of the authors themselves, nor did it encompass a sufficient number of films so that a movement or a wave by this name could even recognise and define itself. However, with time the term “New Serbian Film” – after lengthy discussions, polemics and consultations and because of the fact that from the formation of the notion until present around twenty feature films that can be included under this notion were made in Serbia – finally came into general public use, but it has lost almost all connection to the critic that introduced it, or his suppositions. After initial resistance to this designation, expressed by the directors in interviews and public appearances, a change has occurred: some directors and screenwriters accepted it and consented to placing their films in this “wave”, as well as they lost their reservations towards a generational definition of such general kind. This text advocates the position that despite this there are not enough substantial arguments for “New Serbian Film” to remain valid as anything more than a fancy or a cultural supposition, and strives for redirecting the attention of critics from classification to a rather detailed analysis of new films.
The integral version of this article can be found in the printed KINO!