{"id":9423,"date":"2023-10-05T12:00:16","date_gmt":"2023-10-05T12:00:16","guid":{"rendered":"https:\/\/sites.saic.edu\/cate\/?p=9423"},"modified":"2025-01-08T21:39:35","modified_gmt":"2025-01-09T03:39:35","slug":"zelimir-zilnik-short-films","status":"publish","type":"post","link":"https:\/\/sites.saic.edu\/cate\/2023\/10\/05\/zelimir-zilnik-short-films\/","title":{"rendered":"\u017delimir \u017dilnik: Short Films"},"content":{"rendered":"

Thursday, October 5, 6:00 p.m.<\/strong><\/em><\/p>\n

\"\"
Z\u030celimir Z\u030cilnik, INVENTORY, 1975. Courtesy of the artist.<\/figcaption><\/figure>\n

For more than 50 years, renowned Serbian director \u017delimir \u017dilnik has produced a body of trailblazing and politically committed films. A key member of Yugoslavia\u2019s rebellious Black Wave film movement of the 1960s and a pioneer of docufiction, \u017dilnik\u2019s perspective was shaped by atrocity at the hands of Nazis, Yugoslavia\u2019s turbulent history and dissolution, and periods of exile. Over the years, he has used his camera to explore the experiences of outsiders of all kinds, depicting complicated social and political realities from a distinctly human perspective.<\/p>\n

Join us for three programs that cover the range of \u017dilnik’s career, including his essential early SHORT FILMS, mid-career feature MARBLE ASS (1995) (Friday, October 6, 6:00 p.m.), and recent award-winner, LOGBOOK SERBISTAN (2015) (Saturday, October 7, 1:00 p.m.) \u017dilnik will be in attendance at the Friday and Saturday screenings.<\/p>\n

This program brings together four of \u017dilnik\u2019s most powerful and innovative short films. Shot in Yugoslavia and West Germany, each captures the experiences of people living on the outskirts of society through reenactment, improvisation, repetition, and dark humor.<\/p>\n

1971\u20131977, \u017delimir \u017dilnik, Yugoslavia\/West Germany, 71 minutes
\nMultiple languages with English subtitles, Format: Digital Video<\/p>\n

Presented in partnership with The Center for Eastern European and Russian\/Eurasian Studies at the University of Chicago, the University of Illinois at Chicago\u2019s (UIC) School of Literatures, Cultural Studies, and Linguistics and UIC\u2019s School of Art and Art History.<\/em><\/p>\n

Program<\/strong><\/p>\n

BLACK FILM
\n1971, Yugoslavia, 14 minutes
\nIn Serbian with English subtitles<\/p>\n

BLACK FILM is an early example of \u017dilnik’s political engagement, expressed through his decision to provide shelter to a group of unhoused men in his family\u2019s small apartment. While his guests enjoy themselves, the filmmaker presses social workers, government officials, police, and even ordinary citizens for a more permanent solution. When his camera captures their indifference, his film becomes an indictment against the powers that be.<\/p>\n

UPRISING IN JAZAK
\n1973, Yugoslavia, 18 minutes
\nIn Serbian with English subtitles<\/p>\n

Residents of Jazak, a small village in eastern Yugoslavia, reenact the ways they resisted Nazi forces during WWII\u2014hiding guns, cutting telegraph wires, sabotaging food, and caring for Partisan soldiers. \u017dilnik\u2019s camera captures stories of atrocity and grief alongside those of solidarity and mutual aid.<\/p>\n

INVENTORY
\n1975, West Germany, 9 minutes
\nIn multiple languages with English subtitles<\/p>\n

A short structural documentary experiment that takes stock of West Germany\u2019s \u201cguest workers\u201d\u2014Yugoslavs, Italians, Turks, and Greeks\u2014living in an old building in the center of Munich.<\/p>\n

MARKET PEOPLE
\n1977, Yugoslavia, 30 minutes
\nSerbian with English subtitles<\/p>\n

\u017dilnik takes his camera to\u00a0\u0160abac Fair, one of the largest flea markets and festivals in the Balkans, to meet with the people who run it. Cutting between tradespeople, performers, musicians, and fair employees, \u017dilnik highlights its chaotic and cooperative community.<\/p>\n

About the artist<\/strong><\/p>\n

\u017delimir \u017dilnik\u00a0is an artist-filmmaker from Novi Sad, Serbia. He has made more than 50 feature and short films which have been exhibited internationally. \u017dilnik has been the subject of major career film retrospectives at Centre Pompidou, Paris, 2019; Cinemateca Argentina, 2018; Mar del Plata International Film Festival, 2017; Anthology Film Archive, New York, and Harvard Film Archive, 2017; Ankara International Film Festival, 2016; Doclisboa, 2015; Arsenal, Berlin, 2015; CINUSP, S\u00e3o Paulo, 2014; Thessaloniki International Film Festival, 2014; and more. His work has also been featured at Documenta, Kassel; Venice Biennale; Institute of Contemporary Arts, London; Museum moderner Kunst Stiftung Ludwig Wien; Barcelona Museum of Contemporary Art; Museo Universitario Arte Contemporaneo, Mexico City; The Museum of Modern Art, New York; The Renaissance Society, Chicago; National Gallery of Art, Washington DC; Edith-Russ-Haus f\u00fcr Medienkunst, Oldenburg\u2019 Lentos Art Museum, Linz; Museum f\u00fcr Moderne Kunst, Frankfurt; Deutsches Historisches Museum and Galleria Nazionale d’Arte Moderna e Contemporanea, Rome; among others.<\/p>\n

Related Events<\/strong><\/p>\n

MARBLE ASS\u00a0(Friday, October 6, 6:00 p.m.)
\nLOGBOOK SERBISTAN\u00a0(Saturday, October 7, 1:00 p.m.)<\/p>\n

Accessibility<\/strong><\/p>\n

CATE events are presented with real-time captions (CART). Hearing loops, wheelchair accessibility, and companion seating are also available at the Gene Siskel Film Center. For other accessibility requests, please visit saic.edu\/access or write cate@saic.edu.<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, October 5, 6:00 p.m. For more than 50 years, renowned Serbian director \u017delimir \u017dilnik has produced a body of trailblazing and politically committed films. A key member of Yugoslavia\u2019s rebellious Black Wave film movement of the 1960s and a pioneer of docufiction, \u017dilnik\u2019s perspective was shaped by atrocity at the hands of Nazis, Yugoslavia\u2019s […]<\/p>\n

Read More… from \u017delimir \u017dilnik: Short Films<\/span><\/a><\/p>\n","protected":false},"author":200,"featured_media":9424,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[701],"tags":[217,476,800,799,798],"class_list":["post-9423","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-701","tag-experimental-narrative","tag-political","tag-serbia","tag-yugoslavia","tag-zelimir-zilnik"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/9423","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/users\/200"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/comments?post=9423"}],"version-history":[{"count":5,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/9423\/revisions"}],"predecessor-version":[{"id":9566,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/9423\/revisions\/9566"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media\/9424"}],"wp:attachment":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media?parent=9423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/categories?post=9423"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/tags?post=9423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}