Sami u svijetu nahvao: filmske biografije Dore Pejačević, Slave Raškaj i Marina Držića
By starting with a wider interpretation of the terms nazbilj people* and nahvao people*, where the first are real people and moral heroes, while the others are irrational and greedy, the author analyses the relationship of heroes/artists as nazbilj people and their surroundings as a group of nahvao...
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| Format: | Text |
| Language: | Croatian |
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Croatian Academy of Science and Split Literary Circles and Arts; knjizevni-krug-split@st.t-com.hr
2009
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| Online Access: | http://hrcak.srce.hr/72842 http://hrcak.srce.hr/file/108458 |
| Summary: | By starting with a wider interpretation of the terms nazbilj people* and nahvao people*, where the first are real people and moral heroes, while the others are irrational and greedy, the author analyses the relationship of heroes/artists as nazbilj people and their surroundings as a group of nahvao people in films Kontesa Dora (Countess Dora) (1993) about the composer Dora Pejačević, directed by Zvonimir Berković; 100 minuta slave (100 minutes of glory) (2004) about the painter Slava Raškaj, directed by Dalibor Matanić and Libertas (2006) about the playwright Marin Držić, directed by Veljko Bulajić. At the same time, that relationship, which in every three films ends by the defeat of the main characters and their ambitions, is analyzed through their stories as well as on the plan of visual composition of scenes. * These are terms for describing two kinds of people that Držić uses in his comedy Dundo Maroje. Nazbilj people are truthful and honest people, moral heroes, while nahvao people are those who are hypocrites, phonies and greedy people. |
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