Informative programme
Festival Director

Mirjana Menković

 

FESTIVAL BOARD
President

Radoslav Zelenović, Director of the Yugoslav Film Archive (retired)

 
MEMBERS

Slobodan Naumović, Associate Professor at the Department of Ethnology and Anthropology, Faculty of Philosophy, University of Belgrade

Ilija Cerović, editor of the Science and Education Programme at the Serbian Broadcasting Corporation

Mirjana Menković, Director of the Ethnographic Museum in Belgrade

Dušica Živković, Museum Counsellor at the Ethnographic Museum in Belgrade

Suzana Antić, Museum Counsellor at the National Museum in Zaječar

Marko Stojanović, Museum Counsellor at the Ethnographic Museum in Belgrade

 

Secretary

Milica Obradović

 

Coordinators

Milan Panić (programme)

Nevena Boroja (3minID)

 

Public Relations

Maša Peruničić

Milica Obradović

Milica Ševkušić

Irena Molnar

 
TECHNICAL STAFF AND PROJECTIONISTS

Dragan Mizdrak

Milorad Damnjanović

Sava Žarevac

 

PHOTOGRAPHER

Ivana Masniković

 

FESTIVAL BOARD

President

Radoslav Zelenović, Director of the Yugoslav Film Archive (retired)

 

MEMBERS

Slobodan Naumović, Associate Professor at the Department of Ethnology and Anthropology, Faculty of Philosophy, University of Belgrade

Ilija Cerović, editor of the Science and Education Programme at the Serbian Broadcasting Corporation

Mirjana Menković, Director of the Ethnographic Museum in Belgrade

Душица Живковић, музејски саветник у Етнографском музеју у Београду / Dušica Živković, Museum Counsellor at the Ethnographic Museum in Belgrade

Сузана Антић, музејски саветник у Народном музеју Зајечар / Suzana Antić, Museum Counsellor at the National Museum in Zaječar

Марко Стојановић, музејски саветник у Етнографском музеју у Београду / Marko Stojanović, Museum Counsellor at the Ethnographic Museum in Belgrade

Aleksandra Pavićević was born in Belgrade in 1969. She received her PhD degree in 2005. She has been the President of the Scientific Board of the Institute of Ethnography SASA, since 2010 and the President of the Assembly of the Association of Researchers Working at Humanities Institutes since 2012. She published four monographs and authored numerous scholarly papers in national and international journals and edited volumes. She participated in numerous scientific conferences in Serbia and abroad, gave many lectures, invited lectures and held many seminars. Aleksandra Pavićević is a member of INASEA (International Association for South East European Anthropology). She is currently the leader of the project Identity Strategies: Contemporary Culture and Religiosity, coordinated by the Institute of Ethnography SASA. She is also the leader od the project Digitization and Presentation of the Video Archives of the Ethnographic Institute of SASA Created between 1903 and 1939.

Research interests: thanatology, religion, identity, ethnicity, ritual life, family, marriage, sex morality, law, politics.

 

Stevan Jovičić graduated from the Faculty of Dramatic Arts. He is a film historian, one of the initiators of research in the history of Serbian film and film screenwriter. He has been publishing articles on the history of film since 1959; he edited the books Nušić: the First Serbian Film Screenwriter, 100 years ago – the cinema of 1896, From Camera Obscurato Video Film, With a Camera and a Rifle – Dragiša M. Stojadinović, Precisely 30" and others. He set the theoretical basis for the evaluation of film as a historical source and has popularized film documents in television releases. Together with Marko Babac, he initiated the restoration of old Serbian films. Jovičić wrote several screenplays for documentaries: With a Camera and a Rifle, In the East of Serbia, Mokranjac Forever, The Right to Truth, The Bard of Lazar's City, etc., as well as television shows for the Television of Novi Sad, TV Zagreb and TV Belgrade. He spent the whole of his career at the Yugoslav Film Archives and his work contributed to the development of the institution and the promotion of film archiving as an auxiliary historical discipline. He lives in Belgrade and is active as a publicist, writing about film and history. He is the laureate of the Award for an Outstanding Contribution to the National Culture o fthe Republic of Serbia.

Stole Popov graduated in film directing from the Academy of Theatre, Film and Television in Belgrade. Between 1978 and 1988, he worked as a film director in Vardar Film. He has been the professor of film directing at the Faculty of Dramatic Arts in Skopje since 1989 and he is also the Head of the Department of Film Directing. He has been a member of the European Film Academy since 1997. Stole Popov is the laureate of more than fifty renowned European and World awards, including eight Grand Prix from different International festivals and two Oscar (American Film Academy) and Felix (European Film Academy) nominations. He participated at the international film festivals in San Sebastian, Montreal, Montpellier, San Francisco, Los Angeles, Madrid, Munich, Cairo, Rio de Janeiro, Stockholm, Oberhausen, Belgrade, Melbourne, Porto Alegre, Izmir, Puerto Rico, Moscow, Valencia, Brussels, Pula, Malmo, Hong Kong, Budapest, London, Berlin, Herceg Novi, Vienna, Lille, Stuttgart, Vancouver, Uppsala…

 

Prof. Dr. Naško Križnar is an ethnologist and archaeologist. He has been working at the Centre for Scientific Research of the Slovenian Academy of Sciences and Arts since 1983, at first as the Head of the Audiovisual Laboratory, and since 1999, as a research associate in the programme of the ethnological research of culture in Slovenia and the neighbouring countries and the Head of the Section of Audiovisual Laboratories of the Institute of Slovenian Ethnology. As a visiting professor, he lectured on visual anthropology at the Department of Ethnology and Cultural Anthropology, University of Ljubljana, and he now teaches visual studies at the Faculty of Humanities in Koper and visual anthropology within the framework of interdisciplinary master studies at the Faculty of Social Sciences. He is a member of the International Commission for Visual Anthropology of the International Union of Anthropological and Ethnological Sciences (IUAES).

 

Vladimir Anđelković was born in Belgrade; he graduated production from the Faculty of Dramatic Arts. He has been involved in non-professional film production since 1972. Anđelković organized about fifty festivals of non-professional film (thirty as a part of the organizing team, and twenty as a director or the chief organizer) in the Socialist Federal Republic of Yugoslavia, Federal Republic of Yugoslavia, Serbia and Montenegro and Serbia. He was a jury member at festivals in Pula, Osijek, Sombor, Bačka Topola, Vršac, Omoljica, Belgrade, Zaječar, Niš, Vranje, Kosovska Mitrovica, Skopje and Bitola; and a long-term selector of the film programme at the Serbian Youth Culture Festival in Knjaževac. Between 1979 and 1987, he was a member of the organizing team of the FEST and the Yugoslav Festival of Documentary and Short Film (in Belgrade); he was the organizer of the 50th edition of the latter festival in 2003, and was a member of the FIPRESCI jury in 2007 and 2009. In 1998, Anđelković re-established the Festival of Children’s and Youth Filmmaking in Yugoslavia (presently Serbia) and he has since been the chief organizer of fifteen editions of the festival, held in Belgrade. Vladimir Anđelković has been the President of the Managing Board and the President of the Centre for Non-Professional Filmmaking of Serbia (formerly the Centre of Non-Professional Filmmaking Organizations of Yugoslavia) since 2002.

Continuous recording and presentation of reality in an environment marked by the technological configurations of mass media and already globalized institutions of social networks have become pivotal in the distribution of information, art, entertainment, images and the symbols of cultures. Their relations to ethnological film suggest that the democratization of the right to an auteur (re)construction of a living cultural environment, underpinned by a rapid technological progress, has led to the redundancy of themes and expressions, but also to the gradual disappearance of the positive corrections regarding the duration and the significance of the presented subject-matter. Narratives are becoming autonomous results, whereas the unhindered flow of images and sound turns into the primary goal devoid of discursive attitudes or a reference to the culture contextualized by means of cinematic laws.