The Child Is Not Dead: What Do We See in Tartini’s Key with Poker and Vice Versa

The article compares Vinci Vogue Anžlovar’s Poker (2001) and Tartini’s Key (Tartinijev ključ, 2024). Based on the general comparative perspectives of feature film narratives – time, space and the relationships between characters, the author of the article presents the problem of the form of presenting children in Slovenian youth films based on Hegel’s concept of self-consciousness and Jung’s phenomenology of the child archetype.

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