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tko to tamo peva online dating. Main · Videos; Africa dating site upon thy counsels were remarkably admitted over misreading me out on dates. are maks and. Whilst Krešo Golik's Tko pjeva zlo ne misli (One Song a Day Takes Mischief Newspapers, magazines and online portals simultaneously shape and .. a program from the outset (Radić check date – bibliography shows ). .. Ko to tamo peva (Slobodan Šijan, ) Lepa sela lepo gore (Srđan Dragojević, ). Who's Singin' Over There is a Yugoslav film written by Dušan Kovačević and directed by Serbo-Croatian, Ko to tamo peva. Directed by Release date.
Covering the broad spectrum of the national press makes it possible to take into account the different ideological trends that feed into the reception of the films.
In this article I mostly draw from publications that, at the time they appeared, occupied mainstream, centre ground in Croatia, but even this spectrum reveals differences of opinion. Set in the s, Tito i ja is a bitter-sweet coming of age comedy delivered from the perspective of the chubby ten-year-old Belgrade boy Zoran.
The first half of the film is set amongst the everyday milieu of school and family life in Belgrade. Nevertheless, this fixation is not solely due to indoctrination, with the catalyst for his visions being an unrequited crush on a schoolmate, Jasna. Zoran is desperate to spend time with her and, in a moment of uncharacteristic inspiration, writes a poem proclaiming how he loves Tito more than his own parents, winning him a place to represent his school on the excursion.
The second half of the film focuses on the trip, with the children travelling by train to Zagreb and then hiking through the Zagorje countryside. Raja becomes increasingly unstable and mercilessly victimises Zoran.
Upon reaching Kumrovec, however, the children eventually side with Zoran, and Party agents arrest Raja. Lauded by the other children, Zoran delivers a speech on behalf of the group, in which he reveals that, despite his poem, he actually loves his parents and many other people more than Tito.
Who's Singin' Over There?
At a subsequent reception organised by the President for the children, it is divulged that Raja committed suicide in prison. Zoran refrains from meeting Tito and instead wanders off to help himself to the splendid buffet. It would be January before Tito i ja received sanctioned distribution in Croatia. The film had also been illicitly screened for several months in KIC, a Zagreb cultural centre, meaning that many who had wanted to see the film by then had most likely already done so.
This was important for me from a psychological and moral perspective. The reception of Tito i ja shows that the necessary condition for a Serbian film to make a positive impact in Croatia was not Serbian foreignness but rather Yugosphere commonality. This ideological imperative to relocate Croatia was prompted by the tumultuous events of the s and overlooked the cultural memory forged through centuries of proximity and cooperation between Croats, Serbs and other Yugoslav nations.
Recognition of a common Yugosphere context was thus unavoidable for Croats when discussing Serbian films. This region was a transnational Yugosphere within which films could travel and which served as their wider context of relevancy beyond their now strictly delineated individual national cinemas.
Such a black and white nationalist discourse was entirely lacking in Tito i ja. The murderous Serbs of Croatian films were replaced by an eccentric, imperfect family, complete with many foibles, in a domestic situation with which Croats would have little difficulty identifying.
Tito i ja depicts the intrusion of a totalitarian ideology into everyday life, something which both Serbs and Croats alike experienced in Yugoslavia and under subsequent post-Yugoslav nationalist regimes. Despite being a comedy, the film provides poignant moments of criticism of Yugoslav socialism; in one instance Zoran meets an art historian who, on account of an unnamed misdemeanour, now finds himself toiling as a manual labourer.
Nevertheless, the film is not a simple attack against communism. Although Zoran eventually rejects Tito in favour of his family, comical archive footage depicts Tito as a bon vivant rather than a dictator.
One way in which Tito i ja fosters commonality with Croatian viewers in particular is its depictions of the picturesque Zagorje countryside.
Nevertheless, for a film that is half set in Croatia, the narrative is conspicuous in its lack of Croatian characters or references to a distinctly Croatian culture. The work was filmed in Vukovar inafter the city had succumbed to the Serbian siege and its Croat residents had been either killed or expelled.
The narrative begins with an idyllic romance between Vukovar residents Ana, a Croat, and Tomo, a Serb, whose lives are initially full of optimism as they decorate their new home in the affable company of their friends and families. However, indications of rising national tensions soon appear in Vukovar, and their wedding day is disrupted by opposing pro-Croatian and pro-Yugoslav protesters marching through the streets. As isolated acts of violence turn into outright war, Tomo is conscripted into the Yugoslav army, whilst Ana, now pregnant with their child, remains in the city and is subjected to increasing traumas.
She is first fired for having a Serbian husband, returns to her family home to find that her parents have been killed in shelling and then, heavily pregnant, is gang raped by burglars. Ana and Tomo notice each other through the windows of two buses, one departing for Zagreb, the other for Belgrade. Although Tomo soon disembarks, he is now alone. The film ends with an extended overhead shot revealing the extent of the destruction meted out to Vukovar.
Despite this, the Yugoslav, Cypriot, Italian and American co-production failed to achieve transnational Yugosphere commonality in Croatia and was therefore rejected as a product of the national other. It was not part of the standard repertoire of pirated cassettes on the Croatian film market and, when commented upon, was dismissed as Serbian propaganda.
Rather than presenting a Serbian-led Yugoslav siege of Vukovar which targeted its Croat population, it depicts a general chaos in which both sides engage in fighting and neither Croats nor Serbs can be afforded absolute roles as either aggressors or victims.
The film misleadingly presents the battle as a balanced conflict between evenly matched Croatian and Yugoslav armies that ends in an apparent stalemate. The first protestors encountered are Croats, the first nationalist graffiti and grenade attacks are perpetrated by Croats and the only paramilitaries shown are abrasive Croats. Several women would be raped in the presence of others so that word spread throughout the village and a climate of fear was created.
Who's Singin' Over There? - Wikipedia
Conveying the Serbian perspective of national disputes was in itself not enough to disqualify a film from acceptance amongst Croatian audiences. The demeaning of Bosniaks, whilst distasteful, did not mean that a film would be boycotted in Croatia. Despite fighting on different sides, even the wars of the s had the potential to elicit Yugosphere commonality, given that all nations experienced such conflicts.
However, as I have shown, not all films are received equally across the region. With regard to narrative content, the considerable overlap between Serbian and Croatian national histories during the 20th century does not necessarily mean that Serbian depictions of the self are foreign to Croatian audiences. Assuming a film does not draw a division between Croats and Serbs in particular, the Serbian experience is unlikely to be foreign to Croatian audiences, as shown by the reception of Tito i ja.
Due to significant conflict with dominant Croatian narratives on Vukovar, Croats rejected the way they were depicted by their national other and so the film was shunned. Serbian films, however, have had a continued existence in Croatia, whether through the resurfacing of existing productions or the release of new works, that extends to the present day.
Moreover, as my case studies and the other films I have referenced in this article how the fact that a film is ostensibly marked as Serbian does not in itself determine its reception amongst Croatian audiences. A Made in Serbia label guarantees a film neither praise nor condemnation.
A positive Croatian reception, as with Tito i ja, was based on identification with aspects of Yugosphere commonality. Like the overlapping space in a Venn diagram, the Serbian work was transnationally afforded a place within a Croatian domestic repertoire, and audiences watched it as fellow Yugosphere insiders and non- foreigners.
Nevertheless, many others have not. References Bellamy, Alex J. The Formation of Croatian National Identity. Hunter[ edit ] With his Elmer Fudd -like appearance and tipsy walking style, the hunter is a spaced-out goofball used mostly for comic relief. After initially being late for the bus, he attempts to board it by hailing it midway.
This leads to an absurdly funny scene in which Krstic Sr. You want someone to see me letting you on outside it and fine me? The hunter is later thrown off the bus by Krstic Sr. This was before he had the passengers angry for accidentally almost shooting the Germanophile while firing at a rabbit during an extended stopover and accidentally shooting from an army cannon His reason for travelling to Belgrade is an audition for a singing stint at Lipov lad bohemian kafana.
Since the other passengers are older and of not much interest to him, he mostly communicates with the young bride through flirtatious banter to which she seems very receptive. When the group discovers the young married couple having sex in the woods and gathers to peep on them, the singer famously quips: During the peeping, the Hypochondriac inadvertently coughs and the Singer disdainfully remarks: He later openly makes a pass at the bride, offering her to stay with him in Belgrade.
The young bridegroom is obsessed with only two things: He seems singularly unaware, even as the singer makes every effort to seduce his young bride. The bride, meanwhile, wants nothing more than to see the big world—or at least to see Belgrade and the sea. The most memorable point in their performance is probably their comic scene of lovemaking in the bushes, while the rest of the passengers secretly assemble to watch. He is a bald, middle-aged, frail looking man with defeated demeanor and dark outlook on life that only add to his overall image of a doomed weakling.
Despite constant hacking and complaining, he's seen running and engaging in other physical activities in several scenes, leading to conclusion that some of his health issues might be exaggerated. At first some of the passengers offer positive reinforcement, but soon give up after facing his strong intent on feeling and displaying self-pity.
On the other hand, he really does seem to have tuberculosis — then a common disease — as at one point he coughs out some blood onto his handkerchief. He is in his late 50s, overweight, seemingly harsh and greedy but very supportive of his son, and determined to help his child and himself in life. He is the owner of the bus, but he is also a pig merchant and a sort of con man.
Towards the beginning of the film, he loads several pigs onto the back of the bus, despite the obvious disgust of the passengers. He is also quick to criticize and throw people off his bus, but only after they have paid the ticket.
His character evolves from a stereotypical grouch although non-malevolent at the beginning of the movie, to a loving, caring father towards the film's end. In the peeping scene, when Krstic Jr.
Gypsy musicians[ edit ] The two Gypsy musicians provide a running commentary through the film, like a Greek chorus. One of them plays an accordion and sings, while the other plays a Jew's harp. The movie begins with them singing their recurring song, to which the refrain is "I'm miserable, I was born that way, I sing to sing my pain away The musicians are the only survivors, and after they crawl out of the wreckage, the movie ends with them singing their song.
However, at the time of movie's filming inTito died, which resulted in the extended mourning period that effectively canceled all entertainment activities in the country - including the Italian circus tour that was meant to provide the animals for the scene. Since working with untrained zoo animals was deemed too dangerous, the film-makers reluctantly had to abandon the idea at the time.
However, the idea was used in the opening scene of Undergroundsome 15 years later.