A work of Montenegrin director Živko Nikolić is fraught with motifs from his homeland. Since he d... more A work of Montenegrin director Živko Nikolić is fraught with motifs from his homeland. Since he depicted customs of that homeland as a caricature, this article reassesses possible self-stigmatism as a result of orientalist discourse. Based largely on the works of Balkanism, the paper focuses on director's approach to the stereotype. In this manner it gets closer to understanding of the "film auteur" function in bringing down stereotypes about the Balkans identity. Živko Nikolić is an excellent sample for this theoretical research, because he dedicated each of his film compositions to the Montenegrin customs. Montenegro, as part of the Balkans, is a mine of stereotypes. We should examine if director’s adherence to tradition is a consequence of discourse? Did he fall into the trap of crnogorcizam (orientalism on local level) or he observed that tradition artistically in order to destruct stereotypes. Hence, we should discuss whether Nikolić's fascination with tradition is kind of auto-orientalism or rebellion. Commercial Balkan movie was created under the influence of foreign factors and as a result of colonial thinking. A true artists, however, does not allow the symbolic geography, but revolutionize images of the Balkans that are unjustly spread around the world. This work is guided by hypothesis that director opposes the postcolonial agency with sarcastic attitude towards a system of stereotypes. The most famous Montenegrin director made his peculiar poetics and aesthetics from the mentality of his country. Nevertheless, this mentality, as it's hypothesized, didn't „orientalise him“.
A work of Montenegrin director Živko Nikolić is fraught with motifs from his homeland. Since he d... more A work of Montenegrin director Živko Nikolić is fraught with motifs from his homeland. Since he depicted customs of that homeland as a caricature, this article reassesses possible self-stigmatism as a result of orientalist discourse. Based largely on the works of Balkanism, the paper focuses on director's approach to the stereotype. In this manner it gets closer to understanding of the "film auteur" function in bringing down stereotypes about the Balkans identity. Živko Nikolić is an excellent sample for this theoretical research, because he dedicated each of his film compositions to the Montenegrin customs. Montenegro, as part of the Balkans, is a mine of stereotypes. We should examine if director’s adherence to tradition is a consequence of discourse? Did he fall into the trap of crnogorcizam (orientalism on local level) or he observed that tradition artistically in order to destruct stereotypes. Hence, we should discuss whether Nikolić's fascination with tradition is kind of auto-orientalism or rebellion. Commercial Balkan movie was created under the influence of foreign factors and as a result of colonial thinking. A true artists, however, does not allow the symbolic geography, but revolutionize images of the Balkans that are unjustly spread around the world. This work is guided by hypothesis that director opposes the postcolonial agency with sarcastic attitude towards a system of stereotypes. The most famous Montenegrin director made his peculiar poetics and aesthetics from the mentality of his country. Nevertheless, this mentality, as it's hypothesized, didn't „orientalise him“.
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