559:"In Vorki’s presence, I came to understand the absolute necessity of insisting on the purity of cinematic expression, having myself noticed the pedagogic importance of such a concept, even if presented in an exaggerated manner. The final result of such insistence leads towards the liberation of the cinematic medium from the conventional forms of commercial film. Only in that domain can any qualitative jump into a new aesthetic structure be accomplished, a structure which being persistently and mercilessly subjected to trite clichés which are deeply implanted into the conventional cinematic production that is dictated by the spirit of a consumerist society."
523:"In the domain of alternative film the process of experimenting is more significant than the resulting product. The alternative cinematic process implies a search, which points to new expressive possibilities for film, a search which might only in the future result in complete works of art, a search whose final goal is not to have an immediate result. Alternative film changes the very consciousness of the director in the creative process. In such a manner, the discovery of new forms of expression becomes even more significant."
549:"Theater is close to, the closest to a human being, through the very fact that it is expressed through a human being, thereby interpreting and revealing one's life, whence one is eternally dying as an individual and is being eternally reborn in ever newer modes. Therefore, theatrical art is ephemeral: every realization within its framework is destined to pass away after a certain amount of time or, to put it more appropriately, it is destined to change and transform from one form into another."
513:"It is impossible to request art to create in one particular mode or another because then it becomes something completely different. Art is completely autonomous, and any attempt to violently influence its direction destroys its veracity and immediacy. Only when it is immediate is it great, no matter if it is currently liked or not. If it is false, then it is worthless, no matter how useful or popular it is at that given moment."
510:, located in a basement, has a metaphorical meaning; she points to values which exist no matter how a certain environment or social group will accept them and interpret them. This is not a sort of idealism, but a separation of artistic creation from all social, economic, political, religious and other historical categories. Experience has shown that all attempts to submit art to these categories have been untenable."
533:"The emotional, psychological and contemplative effect of a cinematic motion picture should be purposefully used so that the viewer can feel through it not just the true meaning of the content (which should be the purpose towards which the meaning of the cinematic picture should strive), but that it should also contemplatively fulfill them by stimulating them through the visual meaning of the shot."
569:"The precipitous claim that what is before us is mere exhibitionism and a desire for glory is the consequence of contemplative superficiality and abhorrence towards new forms of modern (unconventional) public communication. By being decisive in her endeavors to tame her own ego through publicly testing the endurance of her body, Marina has radically rejected (petit) bourgeois considerations."
587:. The Foundation also collaborates with cultural institutions, artistic organizations and individuals who are conducting research and creating works in the field of film and art. Moreover, the Foundation contributes to the expansion of the material contained in the Vlada Petrić Collection, which is part of the
578:
The Vlada Petrić Foundation is dedicated to the preservation and promotion of the life and works of Vlada Petrić. The basic goal of the
Foundation is to gather and present Vlada Petrić's works in the fields of film history, theory, and aesthetics, as well as his works on art in general. The
432:
The scholarly theoretical works by Petrić encompass works of seminal importance to film theory and history, in which he primarily focused on researching and promoting film (cinema) as an autonomous artistic medium. He published a significant number of books both in
294:, where he lectured as a professor of film history and theory. He remained in that position until his retirement in 1997. He held lectures at a multitude of universities in the United States, Europe and Asia during this time. Together with the documentary filmmaker
151:
when it was first established in 1958. Petrić participated in the performance of the first television program that was broadcast. It was the first televised broadcast of a theater play, which took place on
December 28, 1958, performed at the avant-garde theater
349:
in
Belgrade is named in his honor. He is the recipient of a lifetime achievement award from the Belgrade Festival of Documentary and Short Film, where he had earlier received an award for the screenplay of his documentary film
90:, where Petrić finished his primary and secondary education and graduated in 1948. As a student, he participated in a Drama Studio, which was an adjunct of the Pančevo Theater, one of the most important theaters in
536:"By standing before reality with a camera in hand, the director should isolate a characteristic detail from it and express his relationship to it in such a manner that it should awaken an aesthetic feeling in us."
230:(VGIK) in Moscow, where he intended to join the doctoral program at that institute, but was unsuccessful due to an ideological disagreement with professor Nikolai Lebedev, and he subsequently returned to
37:
At the beginning of his career he was involved as a director in film, television and theater, and later focused on experimental film. He was the recipient of many awards, including a
141:
113:
579:
Foundation has as its goal to publish Petrić's written works as well as to organize exhibitions, symposia and scholarly events and the awarding of prizes in collaboration with the
223:. In Petrić's manuscript legacy there is a substantial chronicle which details the creative process of this experimental stage achievement and the preparatory work on it.
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and became its first curator, fulfilling this duty until his retirement. Throughout his career, he published essays and critiques in eminent magazines such as
227:
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539:"Everything acquires a soul on the screen, while the human face, which already possesses a soul, has its agency intensified and meaning broadened."
128:, where he graduated in the Department of English Language and Literature in 1956, and in 1958 graduated in theater directing after studying with
220:
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75:
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345:"Since the middle of the 1970's, Petrić authored a series of films and books which extol cinema. The Studio for Digital Media at the
102:
and the
Serbian Film School. Although he loved theater, he opted for the Film School, which was then headed by the Zagreb actor
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262:. He simultaneously started gathering the materials for his doctoral dissertation (on the relationship between Soviet and American
1413:
59:
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99:
22:(March 11, 1928 – November 13, 2019) was an eminent theoretician, historian and aesthetician of cinema, a professor at
30:. Professor Petrić was the first scholar to receive a doctoral degree in film studies in the United States at
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290:
Immediately after receiving his doctoral degree (in 1973), Petrić received a position at the Henry Luce Chair at
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947:"Anthology Film Archives : Support – 2011 Film Preservation Honors & 40th Anniversary Benefit Concert"
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In the period between 1965 and 1968 Petrić spent three semesters attending specialist studies at the
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in the United States. He became an associate professor of
English Language and Literature at the
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70:, where he attended the first two grades of elementary school. Before the outbreak of
79:
63:
1432:
Petrić, Vladimir, "Priroda i značenje fotografije: Uporedni ogled o Bartu i
Sontagovoj",
258:, he left for New York City in 1969, where he began work on the classification of Soviet
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Petrić simultaneously published literary and theatre critiques, articles and essays in
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657:. N.Y.: Cambridge University Press, 1987; second edition 1993; revised edition 2011.
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391:, Massachusetts in the US (1980). He directed the short experimental film
164:
was adapted and directed by Petrić, who received an award for directing at the
124:
in his acting class, while at the same time continuing with his studies at the
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67:
106:, who had also been the director of the first Yugoslav feature-length film,
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in 1959 and in the following year received the title of professor.
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in the period between 1972 and 1974, as well as a visiting professor at
98:. In 1949 he passed the entrance exams for both the Drama Studio at the
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168:
for this play. Between 1960 and 1965 he was head of film department at
489:
429:
from 2003 represents a "digital manifesto" of Petrić's career.
91:
83:
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112:(1947). After Film School, Petrić had a position at the
637:
D.W. Griffith’s A Corner in Wheat: A Critical
Analysis.
140:
Petrić became an associate professor of film history at the
1127:
Serbia, RTS, Radio televizija Srbije, Radio
Television of.
417:
from 1990 represents a cinematic appropriation of the film
403:(1966). In 1970, he appeared as a supporting actor in
655:
Constructivism in Film: The Man With the Movie Camera
1052:"The man with a movie passion: remembering Vlada Petric"
639: Cambridge, MA: University Film Study Center, 1975.
41:
to the United States and the prestigious award from the
633:
Televizija. Belgrade: Radio-televizija, 1971.
94:, headed by the famous Russian director and pedagogue,
215:
and others. At this time he directed the ritual drama
1414:
Edelstein, David B., "Vladimir Petric
Teaches Film",
357:
Some of Petrić's most successful plays include:
1423:
Petrić, Vladimir, "Vertov, Majakovski, Ejzenštejn",
1224:
Petrić, Vladimir. "Smisao i dejstvo filmske slike".
591:, to assist in the promotion of scholarly research.
479:
The Man With the Movie Camera – A Cinematic
Analysis
254:, and at the invitation of the Film Archive at the
126:
Faculty of Philosophy at the University of Belgrade
238:under the tutelage of the great Soviet filmmaker
1205:Lazić, Radoslav. "Razgovor sa Vladom Petrićem".
627:. Belgrade: Umetnička Akademija, 1970.
621:. Belgrade: Umetnička Akademija, 1968.
471:, Film and Dreams: An Approach to Bergman
463:Griffith’s Early Masterpiece: A Corner in Wheat
1129:"Preminuo profesor i reditelj Vladimir Petrić"
609:. Belgrade: Jugoslovenska kinoteka, 1964.
142:Academy of Theater, Film, Radio and Television
114:Academy of Theater, Film, Radio and Television
399:and also directed the 50-minute feature film
188:as well as in magazines and journals such as
8:
1152:: CS1 maint: multiple names: authors list (
1408:The Vertov Dilemma: Film-Eye vs. Film-Truth
975:"International Federation of Film Archives"
228:All-Union State Institute of Cinematography
603:. Belgrade: Narodna kniga, 1962.
528:On the Effect of Cinematic Motion Pictures
147:He began his career as a film director at
1375:International Federation of Film Archives
645:, Quarterly Review of Film Studies, 1980.
425:(1930), while the intimate digital essay
1281:Petrić, Vlada. "Pozorište i tradicija".
649:Film and Dreams: An Approach to Bergman,
1103:"U čast zaštitnika filma | SEEcult.org"
908:
341:Theatrical, Cinematic and Literary Opus
270:, thereby becoming the first doctor of
213:, Kultura, Film, Filmske sveske, Polja,
1167:Petrić, Vlada. "Pismo Vlade Petrića".
1145:
922:"Vlada Petric Collection – Collection"
86:, where his father was a geodesist in
1001:"Pozorišni vremeplov pred gledaocima"
282:at the Conservatory of Theater Arts.
34:in the Department of Cinema Studies.
7:
1262:Petrić, Vlada. "Lice pred kamerom".
969:
967:
916:
914:
912:
845:, television film, adaptation, 1985.
812:, television film, adaptation, 1964.
221:Serbian National Theater in Novi Sad
58:Vladimir Petrić was born in 1928 in
1300:Petrić, Vlada. "Vorkapićev efekt".
1243:Petrić, Vladimir. "Put ka istini".
234:. While in Moscow, he studied
862:Priča o fabrici – gost na prijemu,
839:television film, adaptation, 1969.
830:television film, adaptation, 1969.
14:
419:Ein Lichtspiel Schwarz Weiss Grau
116:. He became an assistant to
1186:Petrić, Vlada. "Začarani krug".
1026:"Преминуо проф. др Влада Петрић"
286:Engagement at Harvard University
266:), which he defended in 1973 at
158:Ljubovna zavist črez jedne cipel
246:Departure for the United States
999:Golubović-Trebješanin, Borka.
884:Večeras improvizujemo Rajkina,
816:Večeras improvizujemo Rajkina,
413:(1970). His experimental film
120:in his directing class and to
1:
1050:Ty Burr (November 21, 2019).
828:Prvi put sa ocem na jutrenje,
615:. Belgrade: Nolit, 1965.
377:(1967), and an adaptation of
172:and editor of movie program.
767:Prvi put sa ocem na jutrenje
276:State University of New York
100:National Theater in Belgrade
675:(assistant director), 1949.
574:The Vlada Petrić Foundation
395:(1964) in cooperation with
256:Museum of Modern Art (MoMA)
82:. His family moved to
1482:
1371:"Vlada Petrić (1928–2019)"
1077:"The Harvard Film Archive"
775:, experimental film, 1990.
506:“My thought experiment on
166:Sterijino Pozorje Festival
1436:, 1984, vol. 16, broj. 4.
951:anthologyfilmarchives.org
755:Sve će to narod pozlatiti
302:, Petrić established the
170:Radio Television Belgrade
149:Radio Television Belgrade
1451:American film historians
1427:, 1978, vol. 10, broj 3.
1400:Dziga Vertov as Theorist
769:, television film, 1969.
763:, television film, 1969.
757:, television film, 1969.
751:, television film, 1968.
739:, television film, 1966.
733:, television film, 1962.
727:, television film, 1962.
721:, television film, 1961.
715:, television film, 1961.
709:, television film, 1960.
703:, television film, 1960.
693:, television film, 1959.
687:, television film, 1959.
371:Serbian National Theater
74:, he attended school in
725:Zločin Silvestra Bonara
437:and the United States:
54:Childhood and education
43:Anthology Film Archives
20:Vladimir "Vlada" Petrić
1466:Serbian film directors
1346:"Kinopravda Institute"
1321:"Oči u oči sa Marinom"
886:television film, 1966.
837:če to narod pozlatiti,
824:television film, 1969.
818:television film, 1966.
800:television film, 1962.
781:, digital essay, 2003.
707:Velika noćna misterija
501:On Artistic Creativity
475:Constructivism in Film
250:As a recipient of the
96:Alexander Vereshchagin
26:and co-founder of the
773:Light Play – A Replay
745:, feature film, 1966.
625:Razvoj filmskih vrsta
613:Teatar Joakima Vujića
585:Yugoslav Film Archive
451:Razvoj filmskih vrsta
415:Light Play – A Replay
359:Teater Joakima Vujića
347:Yugoslav Film Archive
252:Fulbright scholarship
211:Letopis Matice Srpske
39:Fulbright scholarship
926:Harvard Film Archive
843:Lepotica iz Amhersta
798:Novogodišnji poklon,
589:Harvard Film Archive
581:Harvard Film Archive
304:Harvard Film Archive
298:and the philosopher
219:on the stage of the
28:Harvard Film Archive
1030:www.kinoteka.org.rs
810:Transmigracija duša
806:, short film, 1964.
794:, short film, 1956.
651:Redgrave, NY, 1981.
564:On Marina Abramović
518:On Alternative film
325:The Harvard Crimson
268:New York University
32:New York University
1083:. November 1, 2005
878:Gospođa ministarka
643:Six Essays on Film
554:On Slavko Vorkapić
467:Six Essays on Film
423:Laszlo Moholy-Nagy
397:Ljubomir Radičević
292:Harvard University
45:in New York City.
24:Harvard University
890:The Twelve Chairs
851:short film, 2002.
681:short film, 1956.
544:On Theatrical Art
410:The Twelve Chairs
361:performed at the
309:Sight & Sound
76:Bosanska Gradiška
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731:Bilo ih je sedam
427:Wall of Memories
352:Wall of Memories
329:Harvard Magazine
280:Purchase College
203:Književne novine
156:. The play
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1319:Petrić, Vlada.
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786:As Screenwriter
737:Mačka na šinama
691:Laža i paralaža
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619:Uvođenje u film
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439:Čarobni ekran
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1389:Vlada Petrić
1378:. Retrieved
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313:Film Comment
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260:silent films
249:
240:Lev Kuleshov
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162:Joakim Vujić
157:
146:
139:
136:Early career
107:
72:World War II
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1461:2019 deaths
1456:1928 births
1416:The Crimson
1308:(8): 95–96.
673:Barba Žvane
667:As director
662:Filmography
631:Osma sila –
484:He died in
459:– osma sila
264:silent film
236:Soviet film
191:Književnost
1445:Categories
1380:October 2,
1133:www.rts.rs
903:References
749:Apokalipsa
679:Kobna žeđ,
435:Yugoslavia
405:Mel Brooks
363:Atelje 212
154:Atelje 212
68:Yugoslavia
1302:Filmograf
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1232:(62): 10.
1207:Filmograf
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1169:Filmograf
792:Kobna žeđ
508:Mona Lisa
455:Televizij
393:Kobna žed
389:Cambridge
130:Kulundžić
49:Biography
1289:(66): 5.
1148:cite web
856:As actor
822:Švabica,
583:and the
486:Belgrade
481:(1987).
473:(1981),
465:(1979),
461:(1970),
453:(1969),
449:(1964),
445:(1964),
441:(1962),
375:Novi Sad
365:(1958),
232:Belgrade
178:Politika
60:Prnjavor
1418:, 1978.
1351:May 10,
1330:May 10,
1138:May 10,
1112:May 10,
1087:May 10,
1061:May 10,
1035:May 10,
1010:May 10,
984:May 10,
956:May 10,
931:May 10,
892:, 1970.
880:, 1958.
761:Švabica
407:’ film
384:Persona
369:at the
207:Mladost
109:Slavica
88:Pančevo
697:Msje Ž
490:Serbia
469:(1980)
92:Serbia
84:Serbia
80:Bosnia
64:Bosnia
874:1949.
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868:Barba
864:1949.
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160:e by
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1393:IMDb
1382:2020
1353:2021
1332:2021
1306:1978
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1268:1964
1249:1964
1230:1985
1211:1985
1192:1960
1173:1984
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1140:2021
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