Greg de Cuir – författare

Yugoslav Black Wave was originally published in 2011 by Film Center Serbia. At that time it was the first comprehensive study of the Black Wave to appear in English and is still one of the rare monographs anywhere dedicated to the subject. The Yugoslav Black Wave represented a new generation in Socialist Yugoslav cinema in the 1960s and early 1970s. Their films were characterized by a critical spirit and an unconventional approach to form in relation to classical Yugoslav cinema, which generally served to galvanize the war-torn young nation and to advance the Communist party agenda. The author ultimately argues that this phenomenon is maybe the last new wave in postwar European cinema that is still in need of sustained critical attention and wider acknowledgement. This book is a revised and expanded second edition that makes a modest endeavor towards that goal.

Yugoslav Black Wave was originally published in 2011 by Film Center Serbia. At that time it was the first comprehensive study of the Black Wave to appear in English and is still one of the rare monographs anywhere dedicated to the subject. The Yugoslav Black Wave represented a new generation in Socialist Yugoslav cinema in the 1960s and early 1970s. Their films were characterized by a critical spirit and an unconventional approach to form in relation to classical Yugoslav cinema, which generally served to galvanize the war-torn young nation and to advance the Communist party agenda. The author ultimately argues that this phenomenon is maybe the last new wave in postwar European cinema that is still in need of sustained critical attention and wider acknowledgement. This book is a revised and expanded second edition that makes a modest endeavor towards that goal.

Yugoslav Black Wave was originally published in 2011 by Film Center Serbia. At that time it was the first comprehensive study of the Black Wave to appear in English and is still one of the rare monographs anywhere dedicated to the subject. The Yugoslav Black Wave represented a new generation in Socialist Yugoslav cinema in the 1960s and early 1970s. Their films were characterized by a critical spirit and an unconventional approach to form in relation to classical Yugoslav cinema, which generally served to galvanize the war-torn young nation and to advance the Communist party agenda. The author ultimately argues that this phenomenon is maybe the last new wave in postwar European cinema that is still in need of sustained critical attention and wider acknowledgement. This book is a revised and expanded second edition that makes a modest endeavor towards that goal.