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Additional info for A Portrait of the Artist as a Political Dissident: The Life and Work of Aleksandar Petrovic
28 Mira and Antonín Liehm were actually born in Czechoslovakia, although it was only after they moved to the United States that they published their work on the history of East European cinema. I thus consider their perspective to be American, as this was where their work was published. 29 Mira and Antonín Liehm, The Most Important Art, p. 19. 30 Daniel J. Goulding, Liberated Cinema: The Yugoslav Experience (Bloomington: Indiana University Press, 1985), p. 1; see this quote also in Mira and Antonín Liehm, The Most Important Art, p.
By Dejan Kosanović, pp. 16–17. Petar Volk, Istorija jugoslovenskog filma, p. 2. Radoslav Zelenović, “Vek filma”, p. 17. As “the cinematograph” was used as a projector as well as a camera, Lumière brothers’ employees, who travelled the world with this invention, often filmed short films wherever they went. Dejan Kosanović, “Sto godina filma u Srbiji”, p. 156; and Petar Volk, Istorija jugoslovenskog filma, p. 15. Dejan Kosanović, “Sto godina filma u Srbiji”, p. 157. Dejan Kosanović, “Sto godina filma u Srbiji”, p.
135 26 Beginnings In the summer of 1948 after completing his first year of study at FAMU, Petrović had to return to Belgrade. 136 This brought the two countries, or rather one country and one bloc, to the brink of war. All Yugoslav citizens residing, working or studying in the other socialist countries were ordered to return to Yugoslavia, which included students such as Petrović. ”137 Yugoslavia left the Eastern Bloc never to return and subsequently built its own version of socialism, different from the Soviet model.