Screening of The Pine Tree on the Mountain | Complexities of Resistance: Partisan Films from Eastern Europe and the Balkans Film Series

Event time: 
Saturday, March 30, 2024 - 3:00pm to 5:00pm
Humanities Quadrangle (HQ) See map
320 York Street
New Haven, CT 06511

Complexities of Resistance: Partisan Films from Eastern Europe and the Balkans Film Series presents a film screening of THE PINE TREE ON THE MOUNTAIN (U Gori Raste Zelen Bor)
SR Croatia, 1971. 94 minutes. 35mm print. Croatian Cinematheque, Zagreb.
Directed by Antun Vrdoljak

on Saturday, March 30, 2024, 3:00 p.m.
Humanities Quadrangle, Screening Room L01
320 York Street, New Haven, CT 06511
Free and open to the public | All films will be shown with English subtitles

Like When You Hear the Bells (1969), Vrdoljak’s previous partisan film, The Pine Tree on the Mountain focuses on the multiple and sometimes conflicting loyalties of those embroiled in Yugoslavia’s partisan struggle. With the sole exception of a political commissar sent from Zagreb to bring discipline to the unit, all the fighters on either side are also peasants, fighting as much for their villages and families as for any political ideology.
Presented by Zijing Yu, Department of Film and Media Studies.

Edward J. and Dorothy Clarke Kempf Memorial Fund; Russian, East European and Eurasian Studies Program; European Studies Council; Whitney Humanities Center; Yale Film Archive; Department of Slavic Languages and Literatures; and Film and Media Studies Program

About the Film Series: In the aftermath of World War II, several European states started reconstructing and reimagining their identities and recent histories by producing a vast number of films that celebrated and commemorated their guerrilla struggles against fascism. These films ranged in scope and ambition from intimate psychological dramas to overblown military spectacles, from elegiac recollections to pure pulp fiction. Similar to Hollywood westerns, partisan films were the defining genre of the socialist film industry for a significant period. Moreover, in the late 60s and early 70s, both genres reinvented themselves and underwent a political revision that ended their respective “classical periods.” Despite being hugely successful in their domestic markets and often cinematically accomplished, many examples of the partisan films never traveled abroad, and most film prints today remain locked up and in dire need of preservation in various national film archives. Aside from a handful of canonical works, the majority of films we will screen have never been shown in the U.S.