The aim of the following article is to designate the status of the partisan task, as seen in The Bridge (1969), directed by Hajrudin Krvavac. The partisan task is elaborated on two interconnected levels; as a historical background of the film plot and as a mode of organization of the plot in question as well. Through the imperative of the partisan task it is possible both: analyzing contradictions of the Yugoslav revolution and creation of the film characters. It is also possible to designate Krvavac’s The Bridge as a paradigm of the Yugoslav partisan film.
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