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Recounts the life and career of Croatian filmmaker Rajko Grlic in
the form of a lexicon of film terms tied to anecdotes spanning
Grlic's life. "I read a lot this year. Old, new, borrowed, blue.
This was the best. The paradox of reading something so avidly that
you can't put it down and then I got to the last 20 pages slowing
down to a snail's pace and reading so slowly so that it wouldn't be
over so quickly."-Mike Downey, European Film Academy From his
post-Nazi-era childhood in Yugoslavia to his college years during
the 1968 invasion of Prague, the Yugoslav dissolution wars, and his
subsequent exile in the United States, these personal stories
combine to provide insight into socialist film industries,
contextualizing south Slavic film while also highlighting its
contacts with Western filmmakers and film industry. From the
introduction by Aida Vidan: The one hundred and seventy-seven film
terms provide sometimes a direct and at other times a metaphoric
path to Grlic's stories and concurrently serve as a
self-referential mechanism to comment on a series of film
attributes. The entries can be read in any order, allowing for the
reader's own "montage" of the book's universe.... Grlic adroitly
captures the absurdities and paradoxes in one's life resulting from
the sort of tectonic shifts with which East European history
abounds.
Recounts the life and career of Croatian filmmaker Rajko Grlic in
the form of a lexicon of film terms tied to anecdotes spanning
Grlic's life. "I read a lot this year. Old, new, borrowed, blue.
This was the best. The paradox of reading something so avidly that
you can't put it down and then I got to the last 20 pages slowing
down to a snail's pace and reading so slowly so that it wouldn't be
over so quickly."-Mike Downey, European Film Academy From his
post-Nazi-era childhood in Yugoslavia to his college years during
the 1968 invasion of Prague, the Yugoslav dissolution wars, and his
subsequent exile in the United States, these personal stories
combine to provide insight into socialist film industries,
contextualizing south Slavic film while also highlighting its
contacts with Western filmmakers and film industry. From the
introduction by Aida Vidan: The one hundred and seventy-seven film
terms provide sometimes a direct and at other times a metaphoric
path to Grlic's stories and concurrently serve as a
self-referential mechanism to comment on a series of film
attributes. The entries can be read in any order, allowing for the
reader's own "montage" of the book's universe.... Grlic adroitly
captures the absurdities and paradoxes in one's life resulting from
the sort of tectonic shifts with which East European history
abounds.
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