Stylistic heritage and tendencies in contemporary Croatian cinema

This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic tren...

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Main Author: Krunoslav Lučić
Format: Article
Language:English
Published: Adam Mickiewicz University Press 2018-12-01
Series:Images
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Online Access:https://pressto.amu.edu.pl/index.php/i/article/view/17074
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author Krunoslav Lučić
author_facet Krunoslav Lučić
author_sort Krunoslav Lučić
collection DOAJ
description This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic trends of both periods. The paper also analyzes two major stylistic configurations ‒ classical and modernist ‒ focusing on different variants of both aesthetic orientations. Variants of cinematic classicism (reduced and excessive classical style) are exemplified by the films of Krešo Golik and Fadil Hadžić, and by the films of Dalibor Matanić and Zrinko Ogresta from the contemporary period. On the other hand, variants of cinematic modernism (realist and psychological) are exemplified by thefilms of Vatroslav Mimica and Ante Peterlić from the 1960s, and in the contemporary period by thefilms of Zrinko Ogresta and Lukas Nola.
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spelling doaj-art-4d6411c2aae54e0296a8ecee4d920f752025-08-20T01:49:00ZengAdam Mickiewicz University PressImages1731-450X2720-040X2018-12-01233210.14746/i.2018.32.06Stylistic heritage and tendencies in contemporary Croatian cinemaKrunoslav Lučić0Faculty of Humanities and Social Sciences University of Zagreb This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic trends of both periods. The paper also analyzes two major stylistic configurations ‒ classical and modernist ‒ focusing on different variants of both aesthetic orientations. Variants of cinematic classicism (reduced and excessive classical style) are exemplified by the films of Krešo Golik and Fadil Hadžić, and by the films of Dalibor Matanić and Zrinko Ogresta from the contemporary period. On the other hand, variants of cinematic modernism (realist and psychological) are exemplified by thefilms of Vatroslav Mimica and Ante Peterlić from the 1960s, and in the contemporary period by thefilms of Zrinko Ogresta and Lukas Nola. https://pressto.amu.edu.pl/index.php/i/article/view/17074Croatian cinema1990s–2000sYugoslav periodfilm stylisticsclassical film stylemodernist film style
spellingShingle Krunoslav Lučić
Stylistic heritage and tendencies in contemporary Croatian cinema
Images
Croatian cinema
1990s–2000s
Yugoslav period
film stylistics
classical film style
modernist film style
title Stylistic heritage and tendencies in contemporary Croatian cinema
title_full Stylistic heritage and tendencies in contemporary Croatian cinema
title_fullStr Stylistic heritage and tendencies in contemporary Croatian cinema
title_full_unstemmed Stylistic heritage and tendencies in contemporary Croatian cinema
title_short Stylistic heritage and tendencies in contemporary Croatian cinema
title_sort stylistic heritage and tendencies in contemporary croatian cinema
topic Croatian cinema
1990s–2000s
Yugoslav period
film stylistics
classical film style
modernist film style
url https://pressto.amu.edu.pl/index.php/i/article/view/17074
work_keys_str_mv AT krunoslavlucic stylisticheritageandtendenciesincontemporarycroatiancinema