Cinema of Serbia

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Cinema of Serbia
No. of screens117 (2011)[1]
 • Per capita1.3 per 100,000 (2011)[1]
Main distributorsTuck Vision 35.3%
Filmstar 29.3%
Paramount 24.5%[2]
Produced feature films (2011)[3]
Fictional17
Animated-
Documentary12
Number of admissions (2011)[4]
Total2,624,970
National films848,236 (32.3%)
Gross box office (2011)[4]
TotalRSD 739 million
National filmsRSD 239 million (32.3%)

The Cinema of Serbia comprises the art of film and creative movies made within the nation of Serbia or by Serbian filmmakers abroad.

Serbia (both as an independent country and as of former Yugoslavia) has been home to many internationally acclaimed films and directors, and is considered to be the most successful Balkan nation in term of filming. Most of the prominent films from the Balkans are mainly from Serbia, and have acquired a great level of commercial successes.

Serbian theatre and cinema[edit]

Serbia has a well-established theatrical tradition with many theatres. The Serbian National Theatre was established in 1861 with its building dating from 1868. The company started performing opera from the end of the 19th century and the permanent opera was established in 1947. It established a ballet company.

Bitef, Belgrade International Theatre Festival, is one of the oldest theatre festivals in the world. New Theatre Tendencies is the constant subtitle of the Festival. Founded in 1967, Bitef has continually followed and supported the latest theater trends. It has become one of five most important and biggest European festivals. It has become one of the most significant culture institutions of Serbia.

Serbian cinema dates back to 1896. with the release of the oldest movie in the Balkans, The Life and Deeds of the Immortal Vožd Karađorđe, a biography about Serbian revolutionary leader, Karađorđe.[5][6]

The cinema was established reasonably early in Serbia with 12 films being produced before the start of World War II. The most notable of the prewar films was Mihailo Popovic's The Battle of Kosovo in 1939.

Cinema prospered after World War II. The most notable postwar director was Dušan Makavejev who was internationally recognised for Love Affair: Or the Case of the Missing Switchboard Operator in 1969 focusing on Yugoslav politics. Makavejev's Montenegro was made in Sweden in 1981. Zoran Radmilović was one of the most notable actors of the postwar period.

Serbian cinema continued to make progress in the 1990s and today despite the turmoil of the 1990s. Emir Kusturica won two Golden Palms for Best Feature Film at the Cannes Film Festival, for When Father Was Away on Business in 1985 and then again for Underground in 1995. In 1998, Kusturica won a Silver Lion for directing Black Cat, White Cat.

As at 2001, there were 167 cinemas in Serbia (excluding Kosovo) and over 4 million Serbs went to the cinema in that year. In 2005, San zimske noći (A Midwinter Night's Dream ) directed by Goran Paskaljević caused controversy over its criticism of Serbia's role in the Yugoslav wars in the 1990s.

Several Serbian-American filmmakers have established a loose, intellectual multi-mediamaking tradition, working within prominent academic institutions and also creating works marked by high stylistic experimentation. Three figures here would include Slavko Vorkapic, creator of famed montage sequences for Hollywood films and Dean of the USC Film School; Vlada Petric, television and film director, archivist, and founding curator of the Harvard Film Archive; and Vladan Nikolic, creator of the Zenith film and transmedia project as well as Professor at the New School for Social Media in New York City.

Notable contemporary Serbian cinema personalities[edit]

Actors[edit]

Some of the most notable Serbian actors:

Directors[edit]

Famous Serbian films[edit]

Further reading[edit]

  • Ivić, Pavle, ed. (1995). The History of Serbian Culture. Edgware: Porthill Publishers.
  • Dejan Kosanović (1995). "Film and cinematography (1896-1993)". The history of Serbian Culture. Rastko.
  • Miroslav Savićević (1995). "Television". The history of Serbian Culture. Rastko.
  • Petar Marjanović (1995). "The theatre". The history of Serbian Culture. Rastko.
  • Dusan T. Bjelic: "Global Aesthetics and the Serbian Cinema of the 1990s", in: Aniko Imre (ed.): East European Cinemas (AFI Readers). London: Routledge 2005, p. 103 - 120.
  • Nevena Dakovic: "Europe lost and found: Serbian Cinema and EU Integration". In: New Cinemas: Journal of Contemporary Film, Vol. 4, Issue 2 (2006), p. 93 - 103.
  • Igor Krstic: Wunden der Symbolischen Ordnung. Subjekt zwischen Trauma und Phantasma in serbischen Filmen der 1990er Jahre. Wien: Turia & Kant 2009. (German)

See also[edit]

References[edit]

  1. ^ a b "Table 8: Cinema Infrastructure - Capacity". UNESCO Institute for Statistics. Retrieved 5 November 2013.
  2. ^ "Table 6: Share of Top 3 distributors (Excel)". UNESCO Institute for Statistics. Retrieved 5 November 2013.
  3. ^ "Table 1: Feature Film Production - Genre/Method of Shooting". UNESCO Institute for Statistics. Retrieved 5 November 2013.
  4. ^ a b "Table 11: Exhibition - Admissions & Gross Box Office (GBO)". UNESCO Institute for Statistics. Retrieved 5 November 2013.
  5. ^ "Restauriran najstariji srpski igrani film" (in Serbian). Rts.rs. 26 November 2011. Retrieved 15 September 2012.
  6. ^ "Razvoj filma i kinematografije u Srbiji". Netsrbija.net. Retrieved 24 May 2012.

External links[edit]