Izvorni znanstveni članak
https://doi.org/10.17234/Croatica.68.6
INSULARITY AND THE IMPOSSIBILITY OF RETURN – NOVAK, MIMICA, BABAJA
Tomislav Šakić
; Sveučilište u Zagrebu, Akademija dramske umjetnosti, Zagreb, Hrvatska
Sažetak
The text explores the thematic complex of so-called insularity – a gesture of renouncing history developed in the novels "Lost Homeland" ("Izgubljeni zavičaj", 1954) and "Gold, Frankincense and Myrrh" ("Mirisi, zlato i tamjan", 1968) by Slobodan Novak – in the modernist Croatian cinema of the 1960s and 70s. Besides the later adaptations of Novak's works in Ante Babaja's films "Gold, Frankincense and Myrrh" (1971) and "Lost Homeland" (1980), this complex was first depicted in Vatroslav Mimica's film "Prometheus of the Island of Viševica" (1964), a story about the partisan Mato Bakula, presented as a work of memory triggered by his return to his native island 20 years after the war. The main thesis is that Mimica's film bears strong motifs, thematic, and structural traces of the Novak's "Lost Homeland". The figure of the disillusioned revolutionary was introduced to Croatian cinema precisely by Novak. The issue of the treatment of space and time in the film narrative and its presentation as a crucial question of modernism was opened in Croatian modernist cinema in those feature films that, against the background of Novak's works, presented their film structures as a work of memory and a metaphor for the impossibility of the modernist anti-hero's return to the lost homeland.
Ključne riječi
Croatian modernist cinema; Slobodan Novak; Vatroslav Mimica; Ante Babaja; intertextuality; modernism; insularity
Hrčak ID:
325638
URI
Datum izdavanja:
30.12.2024.
Posjeta: 13 *