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60th Belgrade Documentary and Short Film Festival Print E-mail
Film & Screen Media
Written by Greg de Cuir, Jr. (Belgrade)   
Wednesday, 29 May 2013 00:00

The main festival venue at the Belgrade Youth CenterApril 2013 marked the 60th year of the Belgrade Documentary and Short Film Festival, which places it among the oldest film festivals of any type in Europe. In light of this unique position within the international film festival landscape, it seems that an investigation into the history of the Belgrade Festival, or "Kratki metar," and its connection with the unpredictable political winds in the former Socialist Yugoslavia (now post-socialist Serbia) would be a welcome addition to the annals of general film culture.

GoEast: The 12th Festival of Central and East European Film in Wiesbaden Print E-mail
Film & Screen Media
Written by John Riley, Jeremy Hicks, and Natascha Drubek   
Monday, 10 September 2012 07:03

SON BOLELSHCHIKA / THE DREAM OF A FAN // Director: Gerbert Rappaport, USSR 1953, Courtesy Picture: GoEast

GoEast: The 12th Festival of Central and East European Film in Wiesbaden, held in April 2012, devoted its symposium section to a thorough and scintillating reevaluation of Lenfilm, entitled: RealAvantGarde - With Lenfilm Through the Short 20th Century.

Vision and Communism: The Films of Aleksandr Medvedkin and Chris Marker at "The Film Studies Center, Chicago" (Review Article) Print E-mail
Film & Screen Media
Written by Zdenko Mandušić (Chicago)   
Monday, 16 April 2012 15:37

In connection with the exhibition Vision and Communism at the Smart Museum of Art, Chicago, the films of Aleksandr Medvedkin and Chris Marker were shown at the Film Studies Center at the University of Chicago. Both the exhibition and the films are a part of the Soviet Arts Experience, an extensive series of 100 programs and events devoted to Soviet art and culture in twenty-six venues across Chicago. The massive nature of this experience demands attention to how Soviet art is perceived today. Although it is beyond the range of this discussion to offer a wholesale overview of Soviet or Communist art, this essay will focus on the relevance of Medvedkin and Marker as representatives of active, political filmmaking. 


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