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contain intertitles. Instead, an "interpreter" would rise between rolls and explain to the audience what had transpired in the previous roll. Serbian films did not begin using intertitles until 1912, a year after the film's release. Upon discovering the literary and epic source material upon which the film was based, Erdeljanović and his colleagues at the
Yugoslav Film Archive decided to write the intertitles themselves. The film was subsequently taken to a laboratory in
275:. The film was well received following its Belgrade premiere in October 1911. Although it was financially successful at home, Pathé opted not to distribute it abroad. The decision steered Botorić into precarious financial straits, as the film's domestic box office revenues were barely enough to cover the cost of production. After several further unsuccessful attempts at getting international distribution for his films, Botorić left the film industry altogether.
602:. Owing to the violent nature of the coup, the Karađorđević dynasty faced several years of international isolation. Improving the royal family's public image abroad was thus made a priority. Botorić, who hoped to secure government funding for his future cinematic endeavors, thus felt that a feature film about Karađorđe would improve cinema's reputation domestically and increase its profile in the eyes of Serbia's leaders.
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invasion of Serbia in late 1915, Botorić was taken prisoner. He died in an Austro-Hungarian internment camp the following year. Stanojević was also apparently dissuaded from partaking in feature films and remained committed to theatrical performances for the remainder of his life. De Beéry resumed filming newsreels.
987:—and early Serbian cinema more broadly—had generally been overlooked by academics and scholars, who were of the belief that such motion pictures were of little historical or cinematic value. "Once the film had been restored and screened," Sudar writes, "it was evident that it was advanced for its time."
833:
In the early 2000s, scholars from the
Yugoslav Film Archive resumed their attempts to find a surviving print of the film. The effort was spearheaded by Aleksandar Erdeljanović and Radoslav Zelenović of the Yugoslav Film Archive. In the course of his research, Erdeljanović discovered that de Beéry was
765:
11 October] 1911, states: "The picture was well choreographed, with clean camerawork. ... t will cause a real sensation wherever it is shown." Although successful domestically, Pathé refused to distribute the film abroad and reached a similar business decision with regard to its sister
881:
The rediscovered footage was first screened to the public at the
National Theatre on 14 February 2004, coinciding with the 200th anniversary of the start of the First Serbian Uprising. It was screened alongside an accompanying score created by the composer Vladimir Pejković. Later in 2004, the film
802:
The film was last screened before a group of
Serbian émigrés in the United States in 1928. A copy of it existed in Belgrade until 1947 or 1948, when its owner tossed it into the Danube to avoid being persecuted by Yugoslavia's new communist government. Film historians and archivists began searching
536:
Square, was opened by the hotelier
Svetozar Botorić in December 1908. Up until that point, films could only be viewed in traveling theatres which periodically visited Serbia's large cities. Very few members of the country's intelligentsia considered cinema to have any cultural value and fewer still
918:
and similar works were conceived as historical pageants rather than historical drama," Stoil writes. "They were celebrations of well-known leaders, events, and mass virtues, constituting appeals to enroll the Balkan masses in support of nationalism and the ruling dynasties, a recurrent theme among
893:
to mark the 100th anniversary of its release. Digitally restoring the film was an arduous and painstaking affair. "To restore 10 to 15 minutes of film can take two to three months," Erdeljanović said. The restoration process ultimately took more than a year. It was overseen by
Erdeljanović, in his
1224:
The recovered print was nearly 800 metres (2,600 ft) long. Erdeljanović estimated that the film was originally 1,800 metres (5,900 ft) long. He deemed between 80 and 90 percent of the recovered print to be salvageable. Scenes depicting Karađorđe's life between 1811 and 1817 were missing
982:
Although the film was popular with the
Serbian public, it failed to pique the interest of the country's leadership, and in subsequent years, the Royal Serbian Government offered virtually no financial support to Serbia's nascent film industry. Sudar writes that Botorić's attempts to transform the
873:
copy of the film and not the original film stock, which made the restoration process more difficult. Additionally, much of the footage was out of chronological order. According to
Erdeljanović, the film's lack of intertitles posed the most significant challenge. Contemporary Serbian films did not
956:
Erdeljanović categorizes the extant portions of the film into 16 distinct episodes, eleven of which were shot outdoors and five of which were shot indoors. With the exception of the Battle of Mišar, the film's remaining scenes featured static camerawork, simple framing and no cuts. "Many scenes,
973:
represented little more than filmed theatre performances. Smither praises the staging of the Battle of Mišar, in particular. "Such moments show real panache," he writes, "and give the film considerable interest in its own right, as well as the automatic value it has on account of its remarkable
865:
A storied institute with one of the largest film collections in the world, the
Yugoslav Film Archive had been plagued by years of systematic neglect and a persistent lack of funds by the time of the film's rediscovery. The recovered print was mostly in good condition, with the exception of some
785:
Having invested significant amounts of time and money in feature films and receiving little in return, Botorić decided that they were not worth the effort. Commercial film production came to a virtual halt following the outbreak of World War I. During the Austro-Hungarian, German and
Bulgarian
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for the film. Milorad Petrović, a veteran stage actor, was given the role of Karađorđe. The child actor who played the adolescent Karađorđe was coincidentally also named Milorad Petrović. Jevrem Božović played five different characters, including Karađorđe's father and Karađorđe's rival Miloš
312:
311:
308:
313:
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lasted from mid-July to mid-August 1911. De Beéry, whom Botorić had employed to film newsreels in the past, was the film's cinematographer. Outdoor scenes, such as the ones depicting the Orašac Assembly and the Battle of Mišar, were shot on the banks of the Danube and the Sava, mostly at
905:
was one of many historical films produced in Europe at the beginning of the 20th century; it was thus a product of its time. Subjects such as the struggle against the Ottoman Empire would continue to dominate Serbian cinema for decades to come. The film historian Michael Stoil describes
541:, becoming their representative in Serbia and Bulgaria. In this capacity, he held exclusive Balkan premieres of Pathé's films in his hotel. Botorić also regularly produced newsreels about local events on Pathé's behalf, with the firm providing filming equipment and a cameraman (
310:
402:, an erstwhile friend of Karađorđe now on Obrenović's payroll, and orders that Karađorđe be killed. When Karađorđe returns to Serbia, Vulićević offers him a tent in a forest, and while he is sleeping, shoots and kills him with a rifle. The film ends with a passage from
949:, emotionally emphatic intertitles," the film scholar Nevena Daković writes. "Anticipating the wave of Serbian historical spectacles in the 1930s, the film fuels national sentiments and consciousness, celebrates national identity, and broadly participates in what
842:. Wostry informed him that his institution was in possession of a number of early 20th century Serbian films, including a feature film. When Wostry described the contents of the feature, Erdeljanović became convinced that the Austrian Film Archive had a copy of
834:
a Hungarian cinematographer, not a French one, whose real name was Lajos Zoltan Árpád Pitrolf, thus resolving the mystery of why Pathé did not have him listed on their payroll. In 2003, Erdeljanović came into contact with Nikolaus Wostry, the director of the
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capacity as the head of the Yugoslav Film Archive. The film specialists Dubravko and Marija Badalić, Lazar Lisinac, Bojan Perković and Stevan Stanić also contributed their expertise. The digitally restored version of the film was ultimately released on DVD.
394:, and eventually seizing Belgrade. The uprising continues for nearly a decade but is ultimately defeated and Karađorđe is forced to flee to Austria once again. In 1817, he decides to return to Serbia to lead a new rebellion. Karađorđe's chief rival,
811:
in its archives. It also stated that it had no record of a cinematographer named Louis de Beéry ever being on its payroll. In 1969, on behalf of the Yugoslav Film Archive, the film historian Dejan Kosanović examined the collection of the
294:. The film was subsequently restored in time to be screened on the 200th anniversary of the outbreak of the First Serbian Uprising, in February 2004. The film underwent digital restoration in 2011; the digitally restored version of
657:
was played by Dragoljub Sotirović, who also played the part of Karađorđe's brother Marinko. Dobrica Milutinović appeared on screen as the rebel leader Janko Katić. Vukosava Jurković played the role of Karađorđe's mother, Marica.
882:
was released on DVD by the Yugoslav Film Archive with separate Serbian and English menus, as well as intertitles in both languages. The DVD release also features a twenty-minute documentary chronicling the film's rediscovery.
582:), an early example of narrative cinema. Up until that point, all films made in Serbia were documentary and ethnological films, covering events of historical significance such as official functions and state ceremonies to
1081:), which was released in 1909. Because it was filmed in Vojvodina, in what was then Austria-Hungary, it is not considered the first Serbian feature film nor the first feature film from the Balkans. It is thought to be
537:
deemed it financially rewarding. Unlike many of his contemporaries, Botorić was convinced that film could be turned into a profitable endeavour. In 1909, he signed a contract with the French cinematographic firm
983:
public's perception of cinema from "mindless entertainment" to a legitimate art form, though primarily motivated by the prospect of financial reward, "may now be perceived as noble". Prior to its rediscovery,
344:
River. When Karađorđe's father refuses to accompany his son out of the country, Karađorđe kills him. After spending a period of time in Austria, Karađorđe returns to Serbia. In February 1804, following the
1889:. History of the Literary Cultures of East–Central Europe: Junctures and Disjunctures in the 19th and 20th Centuries. Vol. 4. Philadelphia, Pennsylvania: John Benjamins Publishing. pp. 463–477.
857:
before and during World War I, but relocated to Austria following Austria-Hungary's dissolution. It had been donated to the Austrian Film Archive by Reinthaler's widow more than twenty years earlier.
1060:
Botorić and the bank clerk Manok were acquaintances and business associates. Manok also assisted Botorić with some of his other cinematic endeavors, and served as a liaison between Botorić and Pathé.
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846:
in its possession. On 16 July 2003, Erdeljanović visited the Austrian Film Archive to view the footage for himself, after which he confirmed that the print in the archive's possession was in fact
309:
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298:
was subsequently screened on the 100th anniversary of its release. In December 2016, the Yugoslav Film Archive declared the film to be a piece of "cultural heritage of exceptional importance".
363:
who precipitated the massacre. The notables propose that Karađorđe lead the insurrection, given his prior military experience. He initially declines their offer, but ultimately relents; the
586:, such as common people on Belgrade's streets going about their daily lives. Immediately, Botorić came upon the idea of producing a film about the 19th-century revolutionary Karađorđe. The
336:
official (Ilija Stanojević). The murder turns Karađorđe into a fugitive. Following an unsuccessful rebellion against the Ottomans, Karađorđe is forced to flee Serbia and seek refuge in the
282:
was last screened to a group of Serbian émigrés living in the United States. The last known copy went missing in 1947 or 1948, and for many decades thereafter, the film was considered
1229:
had a running time of 88 minutes. Contemporary documentary evidence suggests that it may have been closer to an hour in length, as evidenced by a note written by one of Crown Prince
255:, the owner of Serbia's first cinema. Following an unsuccessful attempt to secure government funding for the project, Botorić decided to personally finance the film. Actors from the
1225:
from the print. Due to continuity errors in the recovered print, most of the footage depicting the Battle of Mišar is also presumed lost. According to contemporary news reports,
866:
sections damaged from exposure to the elements. Since the original running time of the film is unknown, it is unclear how much of it was recovered and how much remains missing.
729:
10 October] 1911. This screening was attended only by members of the press. The same day, the film was screened before King Peter at what is now referred to as the
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particularly interiors, look "stagey" in the style familiar from much early cinema," the film scholar Roger Smither writes. "On the whole, action is filmed in
1021:
2504:
830:, who stated that his father, King Alexander, once had a copy of the film in his possession and viewed it regularly. The search did not yield any results.
2447:
30:
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were used. Indoor scenes were filmed at the Hotel Paris, with props and set pieces provided by the National Theatre. Once filming was complete, the
1016:'s declaration of war against Serbia are the only items from Serbia listed by the register. In December 2016, the Yugoslav Film Archive declared
386:, who had earlier offered to support Karađorđe in his struggle against the rogue Janissaries. Karađorđe scores a string of victories against the
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1233:'s adjutants at the film's royal premiere, where the screening is recorded as having taken place between 9:15 p.m. and 10:15 p.m.
2524:
2611:
1189:). It was well received, so much so that French audiences were "killing themselves with laughter", according to contemporary accounts.
1159:
Slika je izvedena vrlo lepo, čisto, bez ikakvog treperenja i svojom sadržinom izazvaće pravu senzaciju svuda gde se bude prikazivala.
965:. Emotion is represented by grand gestures and frequent tableaux." Nonetheless, the academics Mira and Antonín J. Liehm believe that
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wedding at Ada Ciganlija, which became the first Serbian film to be screened abroad. Because Pathé had decided against distributing
2621:
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as early as 1963. In response to inquiries from the Yugoslav Film Archive, Pathé announced that it did not possess a film titled
782:
internationally, Botorić relied on the film's domestic box office revenue to recoup expenses, which it was barely able to cover.
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814:
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has called "invention of the tradition" by glorifying and mythologizing a past that determines the shape of things to come."
628:. The film's screenplay was written by Stanojević, Ćira Manok, and an individual credited only by their surname, "Savković".
413:
827:
762:
734:
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256:
545:), and Botorić giving them a share of his admission profits. In 1911, Botorić teamed up with the prominent stage actor
1025:
2068:"Srbija, film i istorija: "Karađorđe" se vraća kući: Kako je izgledala potraga za najstarijim domaćim igranim filmom"
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329:
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1883:
Daković, Nevena (2010). "Remembrances of the Past and the Present". In Cornis-Pope, Marcel; Neubauer, John (eds.).
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The Karađorđević dynasty was removed from power during World War II and succeeded by a communist government led by
1042:
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Damaged, but largely intact, the print was found among the effects of Ignaz Reinthaler, who had owned a cinema in
1230:
214:
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represented a "crossing of boundaries between stage and screen". As Sudar notes, earlier European films such as
923:
and afterwards." The film scholar Vlastimir Sudar criticizes Stoil's take, because at the time it was written,
819:
2287:
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197:
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to be a piece of "cultural heritage of exceptional importance", leaving the decision to be ratified by the
668:. Botorić had attempted to persuade the Royal Serbian Government to finance the film, but without success.
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Serbia's first movie theatre, the Paris Cinema, located inside the eponymous Hotel Paris, at Belgrade's
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749:. It was the first feature film to be released in Serbia, as well as in the Balkans more broadly.
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soon foresee their downfall, witnessing their fates reflected in a bowl of water drawn from the
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Postcommunist Film – Russia, Eastern Europe and World Culture: Moving Images of Postcommunism
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561:
550:
188:
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A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrović
1199:
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1013:
1005:
911:
575:
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992:
616:, various biographies and hagiographies about the rebel leader, as well as the epic poem
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2009:
Leksikon pionira filma i filmskih stvaralaca na tlu jugoslovenskih zemalja: 1896–1945
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European Culture in the Great War: The Arts, Entertainment and Propaganda, 1914–1918
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Smither notes that some portions of the recovered print were plagued by significant
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The restoration process experienced multiple hurdles. Erdeljanović had been given a
1009:
636:
In order to lend the project greater credibility, Botorić enlisted actors from the
421:
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Obrenović. Sava Todorović was cast as Mehmed-aga Fočić, one of the leaders of the
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17 November] 1911, also at the Hotel Paris. Although officially titled
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A still from the film depicting Karađorđe (centre) standing among his followers
755:
was a financial success domestically. A review published in the Belgrade daily
1004:'s Memory of the World Register by the Yugoslav Film Archive. As of 2019, the
730:
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Jevrem Božović as five different characters, including Karađorđe's father and
2181:
1953:
1999:
1082:
409:
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2176:(70). Brussels, Belgium: International Federation of Film Archives: 92–94.
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were cast in the leading roles. Botorić had worked with a cinematographer,
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was the first to be released, it is considered the first Serbian feature.
962:
538:
533:
272:
264:
103:
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Kinematografija i film u Kraljevini SHS/Kraljevini Jugoslaviji 1918–1941
1106:
The first feature film produced on the territory of modern-day Hungary,
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had not been seen in decades. "From today's perspective, it is a static
2212:"Belgrade as New York: The Voluntary Americanization of Serbian Cinema"
1735:
1733:
1731:
1689:
1687:
1591:
1467:
1465:
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1212:
1120:), was released nearly a year later. The first Bulgarian feature film,
946:
823:
690:
234:
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The first feature film made on the territory of modern-day Serbia was
996:, released a postage stamp commemorating the film's release. In 2012,
774:). Instead, Pathé opted for an ethnographic short whose subject was a
2262:. Belgrade, Serbia: Ethnological Museum of Belgrade. pp. 16–45.
1399:
1001:
854:
839:
646:
451:
372:
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2241:. Cambridge, England: Cambridge University Press. pp. 193–214.
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The Most Important Art: Soviet and Eastern European Film After 1945
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designed to shore up support for the ruling Karađorđević dynasty. "
1786:
1784:
1706:
1704:
1702:
793:
733:. It premiered before the general public on 30 November [
713:
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was directed by Stanojević. The film had a total budget of 20,000
509:
305:
1948:(in Serbo-Croatian). Bor, Yugoslavia: Štampa, radio i film Bor.
875:
398:, is made aware of this development. He arranges a meeting with
341:
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ran through July and August 1911, and took place in and around
870:
463:
Sava Todorović as Mehmed-aga Fočić, one of the leaders of the
1994:(in Serbo-Croatian). Belgrade, Yugoslavia: Stubovi kulture.
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to establish the Union for the Production of Serbian Films (
2051:. Los Angeles, California: University of California Press.
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Botorić was inspired to produce feature films after seeing
233:. It was the first feature film released in Serbia and the
1626:
1624:
1555:
1553:
1551:
1739:
1693:
1570:
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286:. In July 2003, a largely intact copy was discovered in
2011:(in Serbian). Belgrade, Serbia: Yugoslav Film Archive.
1424:
1422:
1420:
1418:
1416:
1414:
1412:
1337:
1335:
1333:
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1134:), premiered in 1915. The first Croatian feature film,
2090:
Post-Yugoslav Cinema: Towards a Cosmopolitan Imagining
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1312:
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was based on a number of sources, namely an eponymous
1971:. Oxford, England: Oxford University Press. pp.
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1403:
1289:
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premiered at the Hotel Paris on 23 October [
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at its head, had returned to power in 1903 through a
486:, one of the organizers of the First Serbian Uprising
202:
2525:"Karađorđe (Život i dela besmrtnog vožda Karađorđa)"
2030:(in Serbian). Belgrade, Serbia: Film Center Serbia.
1927:
Introducing Youth: Self-Reflection on Serbian Cinema
1751:
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in Paris, to no avail. In 1992, the premises of the
420:
of Serbia and Montenegro. The actors then perform a
739:
The Life and Deeds of the Immortal Leader Karađorđe
318:
The Life and Deeds of the Immortal Leader Karađorđe
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The Life and Deeds of the Immortal Leader Karađorđe
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The Life and Deeds of the Immortal Leader Karađorđe
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2195:. Chicago, Illinois: University of Chicago Press.
1946:Reproduktivna kinematografija Srbije i Jugoslavije
1722:
1500:
1251:
493:, one of the leaders of the First Serbian Uprising
251:was first conceived by the aspiring film producer
1963:"East Central Europe Before the Second World War"
1790:
1710:
624:), which is traditionally attributed to the bard
653:was played by Aleksandar Milojević. The part of
2259:XXV International Festival of Ethnological Film
2172:Smither, Roger (November 2005). "Karadjordje".
476:Vukosava Jurković as Marica, Karađorđe's mother
237:. Petrović portrays the eponymous rebel leader
2288:"Producent Svetozar Botorić i njegovi filmovi"
2237:. In Aviel, Roshwald; Stites, Richard (eds.).
2235:"Culture in the South Slavic Lands, 1914–1918"
2218:. London, England: Routledge. pp. 35–52.
2155:Balkan Cinema: Evolution After the Revolution
1802:
826:neighbourhood were searched after a tip from
701:were sent to Paris to be developed by Pathé.
8:
2138:. New York City: New York University Press.
2114:. Oxford, England: Oxford University Press.
1907:Culture and Customs of Serbia and Montenegro
1603:
645:. Stanojević played Vulićević, as well as a
2484:"Restauriran najstariji srpski igrani film"
2157:. Ann Arbor, Michigan: UMI Research Press.
1990:Kosanović, Dejan; Tucaković, Dinko (1998).
1592:Radio Television of Serbia 26 November 2011
990:In 2011, Serbia's national postal service,
618:The Start of the Revolt Against the Dahijas
496:Milorad Petrović as an adolescent Karađorđe
349:, surviving Serbian notables gather at the
1868:. London, England: Routledge. p. 58.
1678:
1542:
440:, the leader of the First Serbian Uprising
29:
20:
2286:Erdeljanović, Aleksandar (20 June 2012).
1814:
1666:
1630:
1559:
1440:
1370:
1266:
1177:), the film was distributed in France as
961:, with next to no camera movement and no
672:was filmed in Belgrade and its environs.
2587:Biographical films about Serbian royalty
1929:. Belgrade, Serbia: Film Center Serbia.
1827:UNESCO Memory of the World Register 2019
2597:Cultural depictions of Serbian monarchs
2418:Mujezinović, Ferid (11 November 2006).
2397:Mujezinović, Ferid (10 November 2006).
2045:Liehm, Mira; Liehm, Antonín J. (1980).
1910:. Santa Barbara, California: ABC-CLIO.
1775:
1642:
1615:
1244:
1187:En Serbie: Un mariage chez les Tziganes
1053:
919:urban intelligentsia on the eve of the
454:and a sycophantic follower of Karađorđe
2066:Mitrović, Nemanja (30 November 2021).
1654:
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1452:
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1358:
1341:
1320:
1278:
1215:deterioration and other imperfections.
971:The Assassination of the Duke of Guise
745:), the film was simply distributed as
743:Život i dela besmrtnog vožda Karađorđa
571:The Assassination of the Duke of Guise
204:Život i dela besmrtnog vožda Karađorđa
193:Живот и дела бесмртног вожда Карађорђа
2420:"Dželat četiri puta zamahnuo sekirom"
1763:
1293:
1087:Ulrich of Cilli and Ladislaus Hunyadi
768:Ulrich of Cilli and Ladislaus Hunyadi
555:Udruženje za snimanje srpskih filmova
7:
2372:Milivojević, V. (10 February 2004).
2307:Gregory, Andrea (22 February 2010).
718:Contemporary newspaper advertisement
2327:Karajica, Tara (24 February 2017).
1965:. In Nowell-Smith, Geoffrey (ed.).
1022:Ministry of Culture and Information
2465:"Serbia losing its cinema history"
2349:"Završena potraga za Crnim Đorđem"
1968:The Oxford History of World Cinema
324:The film opens with an adolescent
14:
2347:Maksimović, D. (7 October 2003).
1961:Hendrykowska, Małgorzata (1997).
1089:was filmed several months before
772:Ulrih Celjski i Vladislav Hunjadi
2592:Cultural depictions of Karađorđe
2463:Prodger, Matt (4 January 2005).
2440:"Prigodne poštanske marke: 2011"
473:and Karađorđe's brother, Marinko
353:and decide to rebel against the
2490:(in Serbian). 26 November 2011
2135:Serbia: The History of an Idea
1501:Kosanović & Tucaković 1998
1252:Kosanović & Tucaković 1998
933:, a historical spectacle with
390:, routing the Ottomans at the
218:
1:
2617:Serbian black-and-white films
2329:"Serbia: Country Report 2016"
2214:. In Kristensen, Lars (ed.).
1179:In Serbia: The Gypsy Marriage
761:, dated 24 October [
584:events of a more banal nature
523:
382:, but ends up turning on the
16:1911 film by Ilija Stanojević
2523:Zelenović, Radoslav (2012).
2509:Memory of the World Register
2380:(in Serbian). Archived from
2355:(in Serbian). Archived from
2174:Journal of Film Preservation
2111:Belgrade: A Cultural History
1904:Deliso, Christopher (2008).
1866:Encyclopedia of Early Cinema
1740:Milivojević 10 February 2004
1694:Mujezinović 11 November 2006
1472:Mujezinović 10 November 2006
1075:In the Kingdom of Tepsichore
649:and a sycophantic follower.
580:L'Assassinat du Duc de Guise
2399:"U potrazi za "Karađorđem""
2153:Stoil, Michael Jon (1982).
2093:. New York City: Springer.
1860:Bottomore, Stephen (2005).
1026:National Assembly of Serbia
203:
35:A still frame from the film
2643:
2612:Rediscovered Serbian films
2488:Radio Television of Serbia
2210:Sudar, Vlastimir (2013b).
2189:Sudar, Vlastimir (2013a).
1944:Golubović, Mladen (1985).
1864:. In Abel, Richard (ed.).
1043:List of rediscovered films
878:, where it was digitized.
822:in Belgrade's prestigious
632:Casting and cinematography
622:Početak bune protiv dahija
263:, in the past for filming
2309:"Movies Past and Present"
2256:Zečević, Božidar (2016).
2108:Norris, David A. (2008).
2026:Kosanović, Dejan (2011).
2007:Kosanović, Dejan (2000).
1839:Karajica 24 February 2017
1526:Mitrović 30 November 2021
1489:Maksimović 7 October 2003
1404:Erdeljanović 20 June 2012
1131:
803:for a surviving print of
192:
28:
2577:1910s rediscovered films
2233:Wachtel, Andrew (2002).
1752:Gregory 22 February 2010
1148:), was released in 1917.
693:forest. More than 1,000
489:Aleksandar Milojević as
290:by researchers from the
2622:Serbian war drama films
2530:. Yugoslav Film Archive
469:Dragoljub Sotirović as
347:Slaughter of the Knezes
2627:Silent war drama films
2446:. 2011. Archived from
2374:"Filmski Lepenski vir"
1723:Prodger 4 January 2005
1543:Liehm & Liehm 1980
1186:
1174:
1158:
1145:
1117:
1078:
815:Cinémathèque Française
799:
771:
742:
719:
710:Contemporary reception
621:
579:
554:
529:
378:Karađorđe defeats the
365:First Serbian Uprising
321:
267:, and used him again.
243:First Serbian Uprising
2607:Historical epic films
2582:1910s war drama films
2130:Pavlowitch, Stevan K.
2087:Murtić, Dino (2015).
1925:Gocić, Goran (2008).
1886:Types and Stereotypes
1791:Smither November 2005
1711:Smither November 2005
1038:List of Serbian films
836:Austrian Film Archive
797:
717:
674:Principal photography
598:, usurping the rival
520:Vladimir Borovikovsky
513:
316:
292:Yugoslav Film Archive
269:Principal photography
221:), is a 1911 Serbian
2384:on 27 September 2013
681:, as well as at the
588:Karađorđević dynasty
1853:Academic literature
1123:Bulgaran is Gallant
1079:U carstvu Tepsihore
891:digital restoration
480:Dobrica Milutinović
405:The Mountain Wreath
1169:Originally titled
1109:Today and Tomorrow
1000:was nominated for
800:
720:
612:by the playwright
530:
322:
2602:Culture of Serbia
2269:978-8-67891-096-8
2248:978-0-52101-324-6
2225:978-1-13647-555-9
2202:978-1-84150-545-9
2164:978-0-83571-290-3
2145:978-0-8147-6708-5
2121:978-0-19-970452-1
2100:978-1-13752-035-7
2058:978-0-52004-128-8
2037:978-8-67227-068-6
2018:978-8-67227-036-5
1982:978-0-19874-242-5
1936:978-8-67227-059-4
1917:978-0-31334-437-4
1896:978-90-272-3458-2
1875:978-1-13456-675-4
1803:Pošta Srbije 2011
1766:, pp. 60–61.
1604:Hendrykowska 1997
1269:, pp. 34–35.
1171:The Gypsy Wedding
1132:Българан е галант
1049:Explanatory notes
898:Critical analysis
683:Belgrade Fortress
600:Obrenović dynasty
314:
201:
180:
179:
127:October 1911
2634:
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2279:Online resources
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1058:
936:tableaux vivants
758:Večernje novosti
651:Matija Nenadović
638:National Theatre
562:Charles Le Bargy
547:Ilija Stanojević
528:
525:
491:Mateja Nenadović
448:Vujica Vulićević
444:Ilija Stanojević
434:Milorad Petrović
400:Vujica Vulićević
330:Milorad Petrović
315:
257:National Theatre
253:Svetozar Botorić
231:Milorad Petrović
227:Ilija Stanojević
220:
215:Serbian Cyrillic
206:
196:
194:
134:
132:
114:Svetozar Botorić
80:Ilija Stanojević
77:Milorad Petrović
67:Svetozar Botorić
54:Ilija Stanojević
45:Ilija Stanojević
33:
21:
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2631:
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2511:
2503:UNESCO (2019).
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2359:on 9 March 2010
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2333:Film New Europe
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2019:
2006:
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1817:, pp. 1–6.
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1679:Pavlowitch 2002
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1200:Josip Broz Tito
1197:
1193:
1175:Ciganska svadba
1168:
1164:
1156:
1152:
1146:Brcko u Zagrebu
1137:Brcko in Zagreb
1105:
1101:
1068:
1064:
1059:
1055:
1051:
1034:
1014:Austria-Hungary
1012:'s archive and
1006:Miroslav Gospel
980:
912:propaganda film
900:
863:
828:Prince Tomislav
792:
712:
707:
634:
566:André Calmettes
526:
508:
503:
459:Miloš Obrenović
430:
396:Miloš Obrenović
392:Battle of Mišar
359:, the renegade
351:Orašac Assembly
338:Austrian Empire
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2545:External links
2543:
2541:
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2520:
2500:
2480:
2460:
2450:on 16 May 2012
2436:
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2394:
2369:
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2313:Balkan Insight
2304:
2292:Novi filmograf
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1992:Stranci u raju
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1815:Zelenović 2012
1807:
1795:
1780:
1778:, p. 465.
1768:
1756:
1744:
1727:
1715:
1698:
1683:
1681:, p. 156.
1671:
1667:Kosanović 2011
1659:
1657:, p. 129.
1647:
1635:
1631:Golubović 1985
1620:
1618:, p. 202.
1608:
1606:, p. 383.
1596:
1579:
1577:, p. 123.
1564:
1560:Bottomore 2005
1547:
1530:
1505:
1493:
1476:
1457:
1455:, p. 112.
1445:
1443:, p. 174.
1441:Kosanović 2000
1433:
1408:
1375:
1373:, p. 136.
1371:Kosanović 2000
1363:
1346:
1344:, p. 111.
1325:
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1283:
1271:
1267:Kosanović 2000
1256:
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1241:
1238:
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1191:
1162:
1150:
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1093:, but because
1071:Ernest Bošnjak
1062:
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245:of 1804–1813.
241:, who led the
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1862:"The Balkans"
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1712:
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1668:
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1644:
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1632:
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1561:
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1545:, p. 12.
1544:
1539:
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1535:
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1503:, p. 29.
1502:
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1431:, p. 17.
1430:
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1367:
1364:
1361:, p. 37.
1360:
1355:
1353:
1351:
1347:
1343:
1338:
1336:
1334:
1332:
1330:
1326:
1323:, p. 16.
1322:
1317:
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1313:
1311:
1309:
1307:
1305:
1303:
1299:
1296:, p. 28.
1295:
1290:
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1284:
1281:, p. 15.
1280:
1275:
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1268:
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1254:, p. 28.
1253:
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951:Eric Hobsbawm
948:
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942:mise-en-scène
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2452:. Retrieved
2448:the original
2444:Pošta Srbije
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2428:. Retrieved
2426:(in Serbian)
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2405:(in Serbian)
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2382:the original
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143:Running time
120:Release date
18:
2072:BBC Serbian
1655:Murtić 2015
1575:Deliso 2008
1453:Norris 2008
1429:Sudar 2013a
1359:Sudar 2013b
1342:Norris 2008
1321:Sudar 2013a
1279:Sudar 2013a
959:medium shot
921:Balkan Wars
861:Restoration
790:Rediscovery
596:coup d'état
527: 1816
484:Janko Katić
412:written by
361:Janissaries
223:silent film
63:Produced by
41:Directed by
2572:1911 films
2566:Categories
2494:29 January
2474:29 January
2454:29 January
2430:29 January
2409:29 January
2388:29 January
2363:29 January
2338:29 January
2318:29 January
2298:29 January
1848:References
1764:Stoil 1982
1294:Gocić 2008
1173:(Serbian:
1077:(Serbian:
974:history."
930:film d'art
889:underwent
770:(Serbian:
741:(Serbian:
731:Old Palace
620:(Serbian:
610:stage play
501:Production
96:Production
58:"Savković"
56:Ćira Manok
51:Written by
2552:Karađorđe
2182:1609-2694
1954:440998824
1240:Citations
1231:Alexander
1227:Karađorđe
1157:Serbian:
1128:Bulgarian
1114:Hungarian
1095:Karađorđe
1091:Karađorđe
1018:Karađorđe
998:Karađorđe
985:Karađorđe
967:Karađorđe
963:close-ups
925:Karađorđe
908:Karađorđe
903:Karađorđe
887:Karađorđe
885:In 2011,
848:Karađorđe
844:Karađorđe
809:Karađorđe
805:Karađorđe
780:Karađorđe
753:Karađorđe
747:Karađorđe
723:Karađorđe
699:negatives
670:Karađorđe
662:Karađorđe
606:Karađorđe
516:Karađorđe
438:Karađorđe
410:epic poem
326:Karađorđe
296:Karađorđe
280:Karađorđe
278:In 1928,
265:newsreels
249:Karađorđe
239:Karađorđe
219:Карађорђе
210:Karađorđe
198:romanized
2505:"Serbia"
2469:BBC News
2424:Politika
2403:Politika
2132:(2002).
2078:27 March
2000:40511813
1142:Croatian
1032:See also
1024:and the
916:arađorđe
687:Topčider
534:Terazije
273:Belgrade
160:Language
73:Starring
1973:383–389
1213:nitrate
947:baroque
824:Dedinje
705:Release
691:Banjica
551:Serbian
506:Origins
334:Ottoman
235:Balkans
200::
189:Serbian
173:20,000
152:Country
147:Unclear
131:1911-10
129: (
98:company
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1002:UNESCO
978:Legacy
945:, and
855:Osijek
840:Vienna
776:Romani
766:film,
695:extras
666:dinars
647:sipahi
643:Dahije
576:French
465:Dahije
452:sipahi
416:, the
414:Njegoš
384:Sultan
380:Dahije
373:Danube
369:Dahije
356:Dahije
320:(1911)
288:Vienna
175:dinars
170:Budget
164:Silent
155:Serbia
2528:(PDF)
910:as a
592:Peter
539:Pathé
408:, an
388:Porte
104:Pathé
2557:IMDb
2536:2019
2516:2019
2496:2019
2476:2019
2456:2019
2432:2019
2411:2019
2390:2019
2365:2019
2340:2019
2320:2019
2300:2019
2264:ISBN
2243:ISBN
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2197:ISBN
2178:ISSN
2159:ISBN
2140:ISBN
2116:ISBN
2095:ISBN
2080:2022
2053:ISBN
2032:ISBN
2013:ISBN
1996:OCLC
1977:ISBN
1950:OCLC
1931:ISBN
1912:ISBN
1891:ISBN
1870:ISBN
1083:lost
876:Rome
763:O.S.
735:O.S.
727:O.S.
564:and
450:, a
428:Cast
342:Sava
302:Plot
284:lost
2555:at
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871:VHS
838:in
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518:by
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