Experimental documentary â€œYugoslavia, sale how ideology moved our collective bodyâ€ by Marta Popivoda will premiere at the 63rd International Film Festival â€“ Berlin, abortion in the Forum Expanded section.
Avant garde, experimental works, essays, long-term observations, political reportage and yet-to-be-discovered cinematic landscapes: theÂ International Forum of New Cinema,Â ForumÂ in short, is the most daring section of the Berlinale.
YUGOSLAVIA, HOW IDEOLOGY MOVED OUR COLLECTIVE BODY
This research-based essay ï¬lm is a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states. Experience of the dissolution of the state, and todayâ€™s “wild” capitalist reestablishment of the class system in Serbia are my reasons for going back through the media images and tracing the way one social system changed by performing itself in public space. (Marta Popivoda)
The ï¬lm deals with the question of how ideology performed itself in public space through mass performances. The author collected and analyzed ï¬lm and video footage from the period of Yugoslavia (1945 â€“ 2000), focusing on state performances (youth work actions, May Day parades, celebrations of the Youth Day, etc.) as well as counter-demonstrations (â€™68, student and civic demonstrations in the â€˜90s, 5th October revolution, etc.). Going back through the images, the film traces how communist ideology was gradually exhausted through the changing relations between the people, ideology, and the state. The ï¬lm ends at the doors of contemporary Serbian democracy and neoliberal capitalism, demanding that we reï¬‚ect on why citizens so easily abandoned the ideas of socialist collectivism, brotherhood and unity, workers rights, and free education, replacing them, ï¬rstly, with nationalism and war, and then with a promise of freedom and democracy which instead turned out to be individualism and â€œwildâ€ capitalism. In dramaturgical terms, the ï¬lm combines the theoretical concepts of social choreography and social drama, transposing them into ï¬lm language. Through this directorial gesture, Popivoda explores a genesis from Richard Sennettâ€™s thesis â€“ when ideology becomes a belief, it has the power to activate the people and their social behavior â€“ to the thesis of Renata Salecl â€“ at some point people in Yugoslavia had only a belief in belief: they didnâ€™t believe in communist ideology anymore, but believed others did.
Directed by Marta Popivoda
Written byÂ Ana VujanoviÄ‡, Marta Popivoda
Edited byÂ NataÅ¡a DamnjanoviÄ‡
Executive ProducerÂ Dragana JovoviÄ‡
SoundÂ designÂ Jakov MuniÅ¾aba
Colorist Maja RadoÅ¡eviÄ‡
ProducersÂ Marta Popivoda, Alice Chauchat
Co-ProducerÂ Ann Carolin Renninger
TkH [Walking Theory], Belgrade
Les Laboratoires d’Aubervilliers, Paris
UniversitÃ¤t der KÃ¼nste Berlin, Berlin
joon film, Berlin
Program Archive of Television Belgrade
PÃ©riphÃ©rie – Centre de crÃ©ation cinÃ©matographique
Marta Popivoda, born in 1982 in Belgrade, is a ï¬lm and video maker and a cultural worker based in Berlin and Belgrade. She graduated Film and TV Directing from the Faculty of Dramatic Arts in Belgrade. She is currently doing postgraduate program in experimental film inÂ the Art and Media Department at the Berlin University of the Arts with prof. Heinz Emigholz. For her studies in Germany, she received a DAAD scholarship. She has been a member of the editorial collective TkH [Walking Theory], a theoretical-artistic platform from Belgrade within which she initiated and participated in many local and international artistic and cultural projects (such as illegal_cinema). Her work has been presented internationally at film festivals and exhibitions of photography, installation art, and video.
*The film is a part of the two-year-long research project Performance and the Public, carried out by Ana VujanoviÄ‡, Bojana CvejiÄ‡, and Marta Popivoda of the Belgrade theoretical-artistic collective TkH [Walking Theory] at Les Laboratoires dâ€™Aubervilliers in Paris.