Beograd u savremenom srpskom filmu: urbane priče
Belgrade In Contemporary Serbian Film: Urban Stories

Summary/Abstract: The first step in spatial analysis is division of location markers according to the following criterion: inside/ outside (the home/the street). At the same time this also implies partition between one’s own/other people’s, safe/unsafe, well-mannered/ill-mannered. In motion pictures set in Novi Beograd this difference is omitted: the characters are neither safe at home nor in the street; feeling endangered throughout the territory makes them see the part of the town placed on the other riverbank as the friendly space. Division into upper/lower has its usual meaning: underground is negatively marked space, whereas the upper levels are positively labelled location markers. In motion pictures about the old Belgrade, division between inside and outside (one’s own/other people’s) sometimes depends on quarters in question: within the area they regard as their own, the protagonists are protected. In relation to the meaning potential one can discern: the riverbank, the bridges, the rooftops. Friends from the neighbourhood gather on rooftops, forming quasi-families. Characters in the analysed films are often seen in public, rather than in private places. They are being driven from the territory which offers protection to a potentially dangerous zone by a desire for contact.

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