The largest and most politically influential republic of the former Yugoslavia, Serbia has had a well-developed film culture centered in Belgrade, including several production companies as well as national educational, archival, and publishing institutions. While films by DuÅ”an Makavejev and Aleksandar PetroviÄ are well-regarded in the West, Serbia has been home to many auteurs. Surrealist-inspired PuriÅ”a DorleviÄ was a very prolific director, with some fifty features to his credit, and a major contributor to novi film , a tendency in filmmaking with its center in Belgrade. The directors representing the so-called Black Wave, Živojin PavloviÄ and Želimir Žilnik, were based there, as well as several members of the Prague Group who established themselves in the 1980s: Goran MarkoviÄ, Srdjan KaranoviÄ, and Goran PaskaljevĆ. Other directors of this generation particularly active during the 1980s were MiloÅ” RadivojeviÄ, Jovan AÄin ( Bal na vodi [ Hey, Babu Riba , 1986]), Slobodan Å ijan, Branko BaletiÄ and Boro and DraÅ”koviÄ ( Vukovarājedna priÄa [ Vukovarāposte restante , 1994]).
Film production as well as film culture in Serbia begun to flourish in the 1990s despite enduring periods of war and considerable destruction to its infrastructure. Many established directors returned to Belgrade to complete their projects, and a new generation of filmmakers began to emerge. They initially focused on documenting the interethnic conflict and the war but soon turned to fictional works concerned with the trauma of the Yugoslav breakup and the social and economic decline of Serbia. Srdjan DragojeviÄ belongs to the youngest generation of Serbian directors who attracted critical attention. His Lepa sela lepo gore ( Pretty Village, Pretty Flame , 1996) is a witty antiwar film. Other directors of note who successfully launched their careers during this period include Oleg NovkoviÄ, GorÄin StojanoviÄ, and Mirjana VukomanovĆ with her Tri letnja dana ( Three Summer Days , 1997). In Montenegro, LevÄen Film was responsible for most of the film production. Its first film, Zle pare ( Cursed Money , 1956), was directed by Velimir-Velja StojanoviÄ. Zdravko VelimiroviÄ directed Dan Äetrnaesti ( The Fourteenth Day , 1960) and DerviÅ” i smrt ( The Dervish and the Death , 1974). Other noted Montenegrin directors are BoÅ”ko BoskoviÄ, Milo DjukanoviÄ, and Živko NikoliÄ.
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