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Film 'Plastic Jesus'

The scene shows a young woman on a motorbike driving through the streets of Belgrade where army and state parades took place (in the background the most important state and party institutions of Yugoslavia are visible). This is combined with archival material from army parades of the Nazis. The scene shows a young woman on a motorbike driving through the streets of Belgrade where army and state parades took place (in the background the most important state and party institutions of Yugoslavia are visible). This is combined with archival material from army parades of the Nazis. Scene in which the main actor expresses an anti-clerical attitude by pointing a gun in a church where members of the serbian royal family are buried. Scene in which the main actor expresses an anti-clerical attitude by pointing a gun in a church where members of the serbian royal family are buried. Scene in which the main actor whistles the song 'Lili Marleen' while his girl-friend draws a red star on his forehead and in the background a sovjet speech about Western imperialism can be heard. Scene in which the main actor whistles the song 'Lili Marleen' while his girl-friend draws a red star on his forehead and in the background a sovjet speech about Western imperialism can be heard. The archival scene shows Tito being nervous before his speech to the students in 1968, as well as parts of his TV speech. Showing Tito in such a way became one of the biggest controversies around the film.  The archival scene shows Tito being nervous before his speech to the students in 1968, as well as parts of his TV speech. Showing Tito in such a way became one of the biggest controversies around the film.

Location

  • Jugoslovenska Kinoteka, Beograd Uzun Mirkova, Serbia
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Languages

  • English
  • Serbian

Year of creation

  • 1971

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References

Ćirić, Sonja, 2016. “Intervju – Lazar Stojanović, Reditelj: NATO Nema Alternativu." Nedeljnik Vreme, February 11. [Interview - Lazar Stojanovic, director: "NATO does not have an alternative." Weekly TIME] Accessed November 29, 2016. 

DeCuir, Greg; Baškot, Gordana; Antin, Tatjana. 2011a. Jugoslovenski crni talas: Polemički film od 1963 do 1972 u Socijalističkoj Federativnoj Republici Jugoslaviji. Beograd: Filmski Centar Srbije.

DeCuir, Greg et al. 2011b. Yugoslav black wave: Polemical Cinema from 1963-1973 in the Socialist Federal Republic of Yugoslavia. Belgrade: Film Center Serbia.

Goulding, Daniel J. 2002. Liberated Cinema: The Yugoslav Experience, 1945-2001. Bloomington&Indianapolis: Indiana University Press.

Levi, Pavle. 2009. Raspad Jugoslavije na filmu: Estetika i ideologija u jugoslovenskom i postjugoslovenskom filmu [Esthetics and Ideology in Yugoslav and postyugoslav film]. Beograd: Biblioteka XX vek.

Marković, Predrag. 2011. “Where Have All the Flowers Gone? Yugoslav Culture in the 1970s Between Liberalization/Westernization and Dogmatisation.” In The Crisis of Socialist Modernity. The Soviet Union and Yugoslavia in the 1970s, edited by Marie-Janine Calic, Dietmar Neutatz and Julia Obertreis, 118–133. Göttingen: Vandenhoeck & Ruprecht.

Pantić, A, 2015. "Lazar Stojanović: Svako Sam Odlučuje Kad će Da Bude Hrabar" 24sata, June 13. ["Lazar Stojanovic: Everybody decides on his own when to be courageous" 24hours]. Accessed November 29, 2016.

Solomun, Zoran. 2012. “Plastic Jesus. Tito und die jugoslawischen Achtungsechziger.” Deutschlandfunk, February 7. [Plastic Jesus. Tito and the Yugoslav 68ers]. Accessed February 2, 2017.

Vučetić, Radina. 2016. Monopol na istinu. [The monopoly on Truth] Beograd: Clio.