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Serbiancutting:assemblageandthe
archivalimpulseinthefilmsofDuanMakavejev
byGregDeCuir,Jr.
Partone:avisualessay

Serbiancuttingismarkedbyavisualreflexivity
thatorganizescontentalongbothformaland
thematiclines.Thedocumentaryelementsof
thefilmsrepresentedhereareindialogue...

...withthefictionalelements.Oftenthis
dialoguestretchesacrosstheboundariesof
successivefilmsinMakavejevsoeuvre.This
imagefromtheopeningcreditsequencein
LoveAffairforeshadows

thepositioningofIzabelawhenshemakes
lovetoMicathepostman,alsoservingasthe
reflexiveintervalthattriggerstheassemblage
ofSerbiancutting.

Anotherimagefromtheopeningcredit
sequencedepictsawomanonherback
makinglovetoaswan.Thispointstotheiconic
imageofIzabelaonherstomach...

withablackcatlyingonherrearend.As
saidbytheoldSovietmasters,montagedoes
notonlyhappenbetweenframesbutalso
withintheframe.ThemethodofMakavejevs
montagestacksdisparateimagesagainsteach
other...

...andalsoworkstocollageelementswithinthe
frame.Thisimageseemstospeaktothe
voyeuristicactthatiscinemaspectatorship,
alsocommentingonthesexualizedsubjectof
thetraditionallymalegaze

InSweetMovieMissWorldbecomes

thesexualizedobjectofthecinematicgaze.

InLoveAffairanakedIzabelaoftenservesas
thissexualizedobject.Makavejevcommentson
herstatusasastarthroughthisplayfully
reflexiveimage,asshewalkspastamarquee
advertisingEvaRas(writteninSerbianCyrillic
asEBAPAC),herreallifeidentity,ina
production.

Thefirstmajordocumentarysequenceinthe
filmLoveAffairrevealsDr.Kosticlecturingin
hisoffice.Visiblebehindhimisahumanskull.

Thisrhymeswiththesecondmajor
documentarysequenceinthefilm,featuring
Dr.Aleksicashelectureswithmultiplehuman
skullsvisibleinthebackground.

Thecycleoflifeanddeathisathematicstrand
inLoveAffair.Makavejevoftenallowseggsto
symbolizethistheme.Hereisanimageof
Izabelasrearend

whichisfollowedbyamatchcutdetailingtwo Thislinkageiscommenteduponfurtherwhen
eggs.
Dr.Kostictheorizestheimportanceofeggsin
thecycleoflife.

ThecreditsequenceofWR:Mysteriesofthe
Organismisstructuredaroundthecyclical
passingofaneggyolkasametaphorfor
communalsex

justaseggsrepresentavibrantsexual
passioninSweetMovie.

Theactofeatingisasymbolconstantly
referencedinInnocenceUnprotected.The
elaborateassemblageofarchivalfootage
juxtaposesvariousscenesofpeoplesharing
foodanddrink.

Thepreviousimagealsowedsaconnotationof
deathtothecycleoflifethateatingplaysapart
in,juxtaposedagainstthisarchivalmaterial.

Eatingisamatteroflifeanddeath,literally.It
canalsoserveasnourishmentforstrongand
healthyarmiesthatintendtometeout....

...destruction.Warmachinesneed
nourishmenttoo,asalludedtointhisarchival
footage.

Thisimageofpeasantwomenharvesting
grapesandeatingthem

recallsIzabelainLoveAffairandthegrapes Thepurityofthesegrapesisprofanedwith
thatshetemptsAhmedwith,whichrepresenta winetosatisfytheoccupiersinInnocence
lossofinnocenceofsorts.
Unprotected.

TheinnocenceofSerbiaisfeasteduponby
thosesameoccupiers.

InInnocenceUnprotectedeatinganddrinking
areofparamountimportance.

...affordsprotectioninthefaceofanonslaught.
Aleksic,thestarofthefilm,isinvincibleinpart
becauseheeatsright.

Thereisalwaystimeforameal.Theactof
consuming...

Mealsbringcolortoableakexistence.

Agrotesqueparodyofthiscoloringoccursin
theinfamouscommunemealinSweetMovie.

Gotopage2

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JUMPCUT
AREVIEWOFCONTEMPORARYMEDIA

ThefilmWR:MysteriesoftheOrganism
Archivalworkresurrectslostitemsandthe
announcesitsarchivalendeavorsthoughthis motifofraisingthediscardedandforgottenis
image,suggestingsiftingthroughandselecting alsoevokedinthisimagefromSweetMovie
materials.

Likewise,Izabelasbodyisraisedfromitstomb
inLoveAffair

VisualechoesaboundinWR:Mysteriesofthe
Organism.Inthisarchivalfootageapatientis
givenshocktherapy

whichislinkedwiththeprimalscream
therapyadministeredinthisscene

Releasingaprimalscreamisutilizedasaway
toconnectwithlifeaffirmativeurgessuchas
sexualhealth.

ThisshotofVladimirIlyich,asexually
repressedSovieticeskater,comments
ironicallyonthepreviousimage.The
compositionfurtherlinkshimwithhis
namesake,depictedonthewallbehindhim.

Vladimirlecturesontherespectivebenefitsof
thecommunistandcapitalistworld,utilizinga
picturetoillustratehispoint.

ThislessonisexplicatedintheNewYorkCity
documentarysequencethatimmediately
precedesit

Framedpicturesandpostersarerecurring
motifsinthispassageofthefilm,suchasthis
imageofHitlersurroundedbywomenanda
mysterioussexualenergy

Vladimirsoonfindshimselfinasimilarposition
betweenMilenaandJagoda

Milenatriestoframeherself,hopingtocapture
herownsexualenergy

justasJackieCurtisshowsoffhis/her
favoriteimageofcapturedsexuality

ThefilmWR:MysteriesoftheOrganismends
onthisvisionofsurrealframing.Milenas
severedheadismergedwithapictureof
WilhelmReich,commentingonthealternating
dangersofsexualinhibitionandrelease.

becomesthetorrentialwatersofNiagara
Fallsinthesubsequentshot.

Thisimageofredwax,meanttosymbolizethe istransformedintoanobjectofbeauty
spiltbloodofthemurderedPolishofficersinthe
KatynForestmassacre

butwithacaveat.

Thedeadarereanimated

andbecometheliving,whopromptlydie
again.

ThecycleoflifecontinuesinSweetMovie.In
thisimageadolescentchildrenarenursed

justasanadultwomanisnursedoutofher
comatosestate.

Manysufferfrominfantileregressioninthe
film.

Thisregressionisrelievedwiththerapeutic
means.

Sometimesitisexpunged

Yetsomehow,lifealwaysprevails.

Gotopage3

SweetMovietendstojuxtaposeliquids,solids,
andotherobjectsofconsumption(orpotential
consumption)inatransformativemanner.This
imageofMr.Dollarsgoldenpenis(andurine)

Totop

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JUMPCUT
AREVIEWOFCONTEMPORARYMEDIA

Parttwo:Serbiancutting
ThefollowingwasreportedbyJuliusStraussinLondonsDaily
Telegraph,regardingSerbianinvolvementintheYugoslavWarsofthe
90s:
InacrimereminiscentofNazireprisalsinoccupied
Europe,45KosovanAlbanianfarmerswereroundedup,
ledupahillandmassacred...AtSrebrenicafouryears
earlierSerbshadkilledmorethan7,000BosnianMuslims
inthreedaysWhentheSerbsenteredtheCroatiantown
ofVukovarin1991theytooknearly300woundedfromthe
hospitalandexecutedthem.[1][openendnotesinnew
window]
Furthermore,theCentralIntelligenceAgencyoftheUnitedStatesof
AmericareportedinApril1995thatnearly90percentofallthe
atrocitiesintheYugoslavWarsuptothatpointhadbeencommitted
bySerbmilitants.[2]Notbeingsureoftheofficialmarginoferroron
thatstatistic(assumingoneexists),perhapsitwouldbefairforusto
roundupandsaynearly100percent!Takingyetonemorerational
(andhumorous)leap,screenwriterandfilmcriticBrankoVucicevicin
hisbookPaperMoviesproposesthefollowingtheorem:IfSerbsare
fondofslaughteringpeople,theremustbeamethodoffilmcutting
thatcorresponds.[3]Andifsuchamethodexistsitseemslogical,as
hedoes,tocallitSerbiancutting.[4]
Unlessanimagedisplacesitselffromitsnaturalstate,it
acquiresnosignificance.Displacementcausesresonance.
ShantaGokhale
Serbiancuttingisanactofdisplacementthatpositsthefollowing
question:Whatwouldhappenifanimage,oraseriesofmoving
images,weretoberippedasunderfromtheiroriginalhabitatand
relocatedtoanewonewhatwouldhappentotheimagesthemselves
aswellastotheirnewhousing?Thisessaywillattempttogaugethe
significanceandresultingresonanceoffilmicassemblageinauniquely
Balkan(or,morepoliticallycorrectforsomeSoutheastEuropean)
mannerandcontext.Serbiancuttinghashistoricalantecedentsin
Sovietmontagetheory,whichiswherethisanalysiswillbegin.
InhistheoreticalwritingDzigaVertovdefinedintervalsasthe
transitionsfromonemovementtoanother.[5]Assuch,Intervalsare
thematerial,theelementsoftheartofmovement,andbynomeans
themovementsthemselves.[6]Thistheoryofintervalsasmaterial
elementsisechoedinSerbiancuttingintheuseofarchivalmaterials
toaidandabetcinematicmovement.Thesematerialistintervalsdraw
themovementtoakineticresolutionaresolutionthatVertovlabels
kinochestvo.[7]Bythat,hemeansthecinnessofthings,asortof
cinematographypersonifiedinitsnaturalform.
Vertovgoesontonotethatthevisualintervalisacomplex
quantity.[8]Thiscomplexquantityconsistsofthesumofvarious
correlations,[9]ofwhichthefundamentaloneshenotesare:planes,
foreshortenings,movements,lightandshadow,andrecordingspeeds.
[10]However,Serbiancuttingoffersanadditionalcorrelationthat
Vertovleavesout:thecorrelationof(displaced)sources.Itisthis

correlationthatgivesSerbiancuttingauniqueidentity.
SerbiancuttingseemstoembodyVertovsideaofamontagebattle:
movementbetweenshotsandofadjacentshotsinrelationtothe
whole.[11]Thisbattlereflectsthecompilationofdiverseshots(and
sources)strugglingforsupremacyoverthenarrativestrugglingto
conveymeaning.Justlikekinoeye,Serbiancuttingplungesintothe
seemingchaosoflife[12]insearchofaresultantforceamongstthe
millionphenomenarelatedtothegiventheme.[13]Theonly
differenceisthatSerbiancuttingdivesintothechaosofrecorded
historyoflifeinanefforttoplunderandraid,toresurrectand
reassembleforitsownfilmichumanityor,kinochestvo.Serbian
cuttingisthereforenotconcernedwithdocumentinglifebutrather
thatdocumentationwhichisperformedbyothers.Itisacritical
inquirywhich,asfilmmakerandtheoristTrinhT.Minhhahas
written,islessaboutattackingtheillusionofreality[14]than
displacingandemptyingouttheestablishmentoftotality.[15]
Serbiancuttinggivesyoutheworldinfragments.
ForTrinhtheintervalisabreak,whatpersistsbetweenthemeaning
ofsomethinganditstruth.[16]Hereagaintheintervalaidsandabets
oractsasabridgenotforaestheticendsbutratherpoliticalones.The
correlationofdisplacedsourcesthatisSerbiancuttingisconstrued
withmeaningthatcanbepoliticalonlywhenitdoesnotletitselfbe
easilystabilizedandwhenitdoesnotrelyonanysinglesourceof
authority,butrather,emptiesitordecentralizesit.[17]Thisnotionof
decentralizedanddestabilizedmeaningcharacterizesSerbiancutting
inbothformalandthematicways.Thevarietyofarchivalsources
utilizedinthismethodisatoncepluralandutterlysingular.[18]
ThereflexiveintervalisthecoreofrepresentationinTrinhs
conceptionwhiletheovertlyreflexivenatureofSerbiancuttingis
conducivetorealizingtheplaywithinthetextualframe[which]isa
playonthisveryframe.[19]Serbiancuttingasananarchicpracticeis
adestabilizingforcethatcausestheworktofallapart[20]atthe
sametimethatitfusesoddendstogether.Thisdestructiveplayfrees
theworkfromthetyrannyofmeaning[21]forTrinh,whichdictates
thatthefilmstobeanalyzedinthisessaycannotbecategorizedsimply
aseitherdocumentaryorfiction.Thefilmsexistontheborderlinesof
thetextualandextratextual,...wherethework...canonlybeitselfby
constantlyriskingbeingnothing.[22]Assemblageisananti
authoritarianform.Thisrebelliousspiritallow(s)theworktolive,and
toliveonindependentlyoftheintendedlinks[23]
DefiningSerbiancuttingonaverypracticallevelitisamodeof
assemblagethatresultsinacinematicformthatisverysimilartoa
compilationfilm.Toexplicatethismodewecanutilizetheconceptof
collectiveassemblageasoutlinedbyGillesDeleuzeandFlix
GuattariintheirbookAThousandPlateaus.Thiscollective
assemblagedoesnotspeakofthingsitspeaksonthesamelevelas
statesofthingsandstatesofcontent.[24]Therefusaltospeakabout
mirrorsTrinhsintervalwhichpersistsbetweenmeaningandtruth.I
donotintendtospeakabout/justspeaknearby,sheintonesinher
1982filmReassemblage.Collectiveassemblagerejectsthetyrannyof
meaninginfavorofcollectivizingcontent(andform).
DeleuzeandGuattariinsistthateverystatementofacollective
assemblageofenunciationbelongstoindirectdiscourseandindirect
discourseisthepresenceofareportedstatementwithinthereporting
statement.[25]ThisexplainsthearchivalimpulseinSerbiancutting,
theattempttospeaknearbydisplacedsourcesasindirect
discourse(s).Thenotionofareportedstatementwithinthereporting
statementharkensbacktoVertovsideathat,Acompositionismade
ofphrases,justasaphraseismadeofintervalsofmovement.[26]
DeleuzeandGuattarifurtherelucidateonthemultipleaxesof

assemblage.Regardingtheverticalaxistheassemblagehasboth
territorialsides,orreterritorializedsides,whichstabilizeit,andthe
cuttingedgesofdeterritorialization,whichcarryitaway.[27]Trinhs
decentralizedandpluralizedbreakisevokedagainhere,alongwiththe
ideaofanintervalthatcutsbothways.Thedisplacedsourcesthat
characterizeSerbiancuttingandtheoftentimesharshtransitionsthat
marktheirpassagethreatentocarrythefilmoffonatangentatthe
sametimetheyattempttostabilize(andpluralize)thelargerreporting
statement.Thisdisjunctiveeditingschemeisconceiveduponavertical
axis,aburrowingtrajectorywhichisproducedbythearchivalimpulse.
Thesedisplacedarchivalsourcesarestackedagainsteachotheras
buildingblocksandassuch,assemblagehasastaccatopatternitisa
resonantpatchwork,notaselfeffacingflow.
VucicevicdefinesSerbiancuttinginthefollowingmanner:Using
existingmaterial,asinarchivefootage,tosubstituteasoriginalfootage
withinasceneinafilm.[28]Tothisendtheusual(thoughnotonly)
formofSerbiancuttingisaninterjectionofillustrativedocumentary
materialintothedramaturgyofafictionfilmasasurrogate,producing
anideologicaleffectthroughdialecticalalternation.Here,wemust
allowafewcautionarynotesonVucicevicbeforeconcerningourselves
withillustratinghisideathroughtextualanalyses.[Figure1]

1.VucicevicinascenefromthefilmInnocence
Unprotected(1968).

2.Ahmed(SlobodanAligrudic)atwork
exterminatingratsinLoveAffair(1967).

3.Thereflexiveintervalasnonsensicalplay
ontheframeinLoveAffair(1967).

BrankoVucicevicworkedasafilmcriticthroughoutthe50sand60s
writingforimportantYugoslavcinemajournalsofthedaysuchas
FilmskakulturaandFilmdanashealsoeventuallybeganwriting
screenplays(hecowrotethefilmRaniradovi/EarlyWorks[1969]
withwriterdirectorZelimirZilnik,whichwontheGoldenBearatthe
BerlinFilmFestival).In1967DusanMakavejevaskedhimtobean
assistantdirectoronhisfilmLjubavnislucajilitragedijasluzbenice
PTT/LoveAffair,ortheCaseoftheMissingSwitchboardOperator
(whichZilnikalsoworkedonasanassistant)andthetwoteamedup
againtoworkonthefilmNevinostbezzastite/InnocenceUnprotected
in1968.Vucicevicwasinterestedinthetheoreticalconstructsof
editing,sohesatinonthepostproductionprocessofLoveAffairand
suggestedcertaincreativechoices.[29]Thispartnershipresultedinthe
styleofSerbiancutting,whichMakavejevexhibitedintheseandeven
hislaterfilmsthatVucicevicdidnotworkon(thisstylewasnot
utilizedinMakavejevsfirstfilmCoveknijetica/ManIsNotaBird
[1965],whichpredatedhisworkingrelationshipwithVucicevic).As
such,beingthebirthplaceofSerbiancutting,Makavejevsearlyfilms
willbeatthecenterofthisanalysis.
Theformofwood,forinstance,isaltered,bymakinga
tableoutofit.Yet,forallthat,thetablecontinuestobe
thatcommon,everydaything,wood.But,sosoonasit
stepsforthasacommodity,itischangedintosomething
transcendent.Itnotonlystandswithitsfeetonthe
ground,but,inrelationtoallothercommodities,itstands
onitshead,andevolvesoutofitswoodenbraingrotesque
ideas,farmorewonderfulthantableturningever
was.[29b]KarlMarx
In2008thefilmeditoranddirectorMihailoP.Ilicpublishedabook
entitledSerbianCutting(Belgrade:FilmskicentarSrbije)thefirstto
attempttoinvestigatethisradicalformofmontageindetail.Not
coincidentally,displayedonthecoverofthebookisaniconicimage
fromMakavejevsLoveAffairfeaturingthemaincharacterIzabela
(EvaRas)asshelaysnakedonabedwithablackcatperchedontopof
her.AsthedescriptivetitleofthefilmindicatesLoveAffairisabout
theloveaffairbetweenIzabelaandAhmed(SlobodanAligrudic)and
itseventualdescentintotragedy.Izabela,aYugoslavHungarian,
worksasatelephoneswitchboardoperatorandlivesaloneasasingle
womaninthecityofBelgrade.Ahmed,aYugoslavMuslimwhoisalso
aforthrightmemberoftheCommunistParty,worksasasanitary
inspectorspecializingintheexterminationofrats.[Figure2]Thefilm

givesadetailed(attimesdocumentary)accountofthepairsmeeting,
relationship,infidelityandbreakup,eventuallyleadingtodeathfor
IzabelaandimprisonmentforAhmed.

4.LoveAffair(1967)thecorrelationof
archivalsources.

AdemonstrativeexampleofSerbiancuttingcanbefoundby
examiningthemomentwhenIzabeladecidestocheatonAhmed.
WhentheflirtatiouspostmanMica(MiodragAndric)successfully
seducesIzabelashesitsonhislapandlooksdirectlyintothecamera
thereflexiveintervalthatTrinhdiscusses,introducingthe
nonsensicalplayontheframethatimmediatelyfollows.[Figure3]
Then,asuddencuttoarchivalfootagetitledAdamundEvefromthe
1903GermanfilmAktSkulpturen.Studienfilmfurbildende
Kunstler/LiveSculptures(directedbyOscarMesster)detailsthe
sexualexploitsofAdamandEvethroughstylizedalterationsintheir
positionsontopofarotatingplatform,eventuallyendingwiththem
sleeping.[Figures45]
Thebriefcorrelationhereproducestheeffectofbeingabletoinfer
whathappensnextinthestory:Izabelahavingillicitsexwithhernew
lover.However,thearchivalfootageonlyallowsustoviewasubstitute
forthisscenewhilealsocommentingonthesceneinquestionby
addinganewlevelofmeaning.IzabelahasbeencalledEveearlierin
thefilmbyAhmed,areligiousreferencetohertemptinghimto
abandonhistraditionalvaluessuchasnotdrinkingalcoholand
refrainingfromhavingphysicalaffairswithawomanwhoisnothis
wife.ThroughSerbiancuttingthisassociationisexemplifiedand
reiterated,creatingamomentthatnotonlycommunicatesnarrative
contentbutalsocommentsonthatcontentthroughanextracinematic
planeofsignification.

5.LoveAffair(1967)thearchivalsourceas
surrogate.

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AREVIEWOFCONTEMPORARYMEDIA

TheentirebasisforandstructureofthefilmInnocenceUnprotectedis
anextendedassemblage.Makavejevfoundaforgottenmovieinthe
YugoslavFilmArchivescalledInnocenceUnprotected(1943)directed
byDragoljubAleksic,afilmthathadbeencitedasthefirstsound
featuremadeinYugoslavia(andwhichhesubsequentlynamedhis
ownfilmafter).Inasmuchtheworkofafilmhistorianasanarchivist
Makavejevdecidedtoresurrectthisproductionintheformofa
documentaryaboutthefilmsmakinganditsdirector/starAleksic.
ThroughoutthisdocumentarycompilationMakavejevutilizeslong
sectionsoftheoriginalInnocenceUnprotected,somuchsothatthe
originalfilmalmostplaysoutinitsentiretyasareportedstatement
withinthelargerreportingstatementthatisMakavejevsfilm.

6.InnocenceUnprotected(1943)thegaze
oftheheroine.

7.Displacedandresonantdocumentary
footageinInnocenceUnprotected(1968).

8.InnocenceUnprotected(1968)
Allied/Axiscutting.

TheoriginalInnocenceUnprotectedisatraditionalstoryabouta
younggirlnamedNada(AnaMilosavljevic)hopelesslyinlovewith
Aleksic(playinghimself)thoughrelentlesslypursuedbyan
objectionableoldermannamedPetrovic(BratoljubGligorijevic).One
ofthemorepowerfulmomentsthatexemplifiesSerbiancuttingcomes
inanearlysceneinthefilmwithinthefilmwhenNadafendsoffthe
advancesofthepersistentPetrovic.Shemovesawayfromhimtoa
nearbywindowand,despondently,looksoutofitwhilethinkingofher
truelove.[Figure6]Aftersheglancesoutofthewindow(herglance
closetoadirectaddressasshelooksjustpastthelensofthecamera)
MakavejevcutstoactualityfootageoftheaftermathoftheWorldWar
IIbombardmentofBelgrade.Firespewsoutfromshelledbuildings
andrubbledotsthestreets,peoplescrambletofindlovedonesorjust
toescapethehellishcarnage,corpseslieinrigormortisawaiting
recovery.Thisdisplacedandresonantdocumentaryfootageis
substitutedforthegazeoftheheroine.[Figures78]
TheoriginalInnocenceUnprotectedwasshotamidtheGerman
occupationofBelgradetwoyearsbeforeRossellinishotRoma,citt
aperta/Rome,OpenCity(1945)inthestreetsofafreshlyliberated
Rome.Thisactualityfootageaffixesasub/contextualmeaningtothe
reconstructedfilmandsimultaneouslymakesitpalpablewhilethe
indexicaltietorealitypresentedfunctionsasTrinhsbreakbetween
meaningandtruth.TheverytitleofthefilmreferstoNada,themodest
heroinewhoisstalkedbythemenacinginvaderPetrovic.Nadaisalso
madetorepresentthecityofBelgradeitselfsufferingundera
relentlessattack.Thisisthepluralizedmeaningofthetext.Thetruth
ofthetextisrenderedindocumentaryformwiththeactualityfootage
ofabatteredBelgrade.However,thistruthisdecentralized,asitis
usedintheformofSerbiancuttingtorepresentthepointofviewofa
fictionalcharacter.[30][openendnotesinnewwindow]Throughthis
decentralizationordisplacement,againasGokhalenotes,the
documentaryimageslendresonancetothesceneasawholeby
pluralizingmeaning.
MakavejevdirectedWR:Misterijeorganizma/WR:Mysteriesofthe
Organism,hismostwellknownfilm,in1971.SimilartoInnocence
Unprotectedtwonarrativestrandsarewoventogether:adocumentary
investigationintothelifeandworkofsexualpsychologistWilhelm
ReichandafictionaltaleaboutaYugoslavwomannamedMilena
(MilenaDravic)whosearchesforanimprovedsocialismthrough
sexualliberation.NeartheopeningofthesecondactinthefilmMilena
deliversanimpassionedspeechfromherapartmentbuildingbalcony
addressedtoherneighbors,advocatingforthepositionthattherecan
benoconflictbetweensocialismandphysicallove.Milenasspeech

endswiththeneighborsembracinghands,dancingthekolo,[31]and
collectivelysingingaboutlifenotbeingworthathingwithoutsex.
Whentheaudienceofneighborslockshandsandbeginsdancingup
thestairsandacrossthefloorsMilenaiseventuallyreachedand
absorbedintotheirtrain.AsMilenaformsthefinallinkinthehuman
chainofsolidaritywhileapproachingthecamerashesuddenlyreaches
outandgraspsthehandofthecameramanthusabsorbingthe
viewer,asthecameracanbeseentoreflectourpointofview.[Figure
9]Thisisyetanotherreflexiveintervalthattriggerstheplayonthe
framethatisSerbiancutting.

9.Theviewerasthefinallinkinthehuman
chainofsolidarityinWR:Mysteriesofthe
Organism(1971).

10.WR:MysteriesoftheOrganism(1971)
thereflexivepullofMaoism.

AfterthisreflexivepullattheaudienceMakavejevcutsinacorrelative
patternthatcreatesanotherreflexivepull.Thenextshotarrivesasa
resultofamatchcutinmovementandcompositionbutcomprisedofa
hugedisjunctioninspaceandtimewhenweareimmediately
transportedtoPekingsRedSquareinChinaandahuge
demonstrationinsupportofMaoism.Ontheexactsameaxisofthe
previousshotwalkinginthesamescreendirectionalongabalconyare
ChairmanMaoandafewpartyofficials.[Figure10]Thisarchival
footageplaysunderthecontinuedsoundoftheSerbiansingingand
createsadialecticaloppositionandlinkage.Thefictionalstrandis
givenadocumentarycorrelativeinrealityandaswewitnessthe
massiveChinesecrowdsurgingforwardwiththeirlittleredbooksheld
highMakavejevdeliversanironicunderscoringandwarning:what
startsasasparkcanquicklygrowintoanuncheckedrevolutionary
infernowithmisguidedprinciplesanddisastrousoutcomes(aswasthe
casewithMaosCulturalRevolution).ThepowerofSerbiancuttingas
apractice,ascinematicrhetoric,isexpressedhere.Thealternation
betweenfictionalanddocumentaryfootageproducesathirdlogicthat
isgreaterthanthesumofitspartsyetisabletomaintainacontinuity
offormthroughdiscontinuity.
AfterthenewsreelfootageofChairmanMaosrallythemontage
battlecontinues,notonlywithacorrelationofdisplacedsourcesbut
alsoacontinuedcorrelationofmovementswithintheframe.Thenext
cutintroducesfootagefromtheSovietfictionfilmPitsi/TheVow
(1946)byMikheilChiaureli.Thecontrastbetweenthesurgingmass
thatistheChinesecrowdandthestationaryspectatorswhowaitin
frozenanticipationforthearrivalofStalininthisscenerecallsthe
rhythmicartisticwholethatisVertovskinochestvo.Theideological
implicationsinthisshortsequenceareanimatedbytherespective
representationsofYugoslavselfmanagingsocialism,frenzied
communistfervorinChina,anddogmatictotalitarianismintheSoviet
Union.Theyarevisuallysymbolizedbythecelebratorymovementof
Yugoslaviaintheformofaculturallyspecificdance(asselfmanaging
socialismwasauniquepathtowardcommunistgoals),thepowerful
humanwaveofmovementintheChinesefootage,andtherigidityin
theSovietclip.Makavejevusesvisualstylingtocommentonand
criticizetheserespectivesocialistideologiespresentedinthiscollective
assemblage.
ThecontrolledmovementsoftheactorplayingStalin(Mikheil
Gelovani)alongwithhishighpartyfunctionariesbringthiscollective
assemblagefullcircle.Milenaandhertrainofcollaboratorsdanceina
counterclockwisedirectiontowardsthebottomoftheframethe
Chinesecrowdmatchesthismovement,continuingtowardsthetopof
theframeStalinappearsfromthetopoftheframeandcontinuesthe
movementagain,slowlypacingdownwardsintheframe.[Figure11]
Thiscorrelationofmovementsisalsoacorrelationofplanes.
Makavejevlinkstheideologiesinquestioninaninfinitesimalloop,
whichiseitherapolemicalappealtosolidarityoranequalizingcritical
viewonineffectuality.Thisjuxtapositionisdialecticalinnaturethe
elementsintheequationinflecteachotherinatransformativepattern
aswasthecaseinreality,asStalinsbreakwithTitoin1948[32]
ultimatelyledtoYugoslaviasuniquesocialistpathwhiletheyouthful
fervorofMaoistrevolutioninthe60shelpedsparkagenerational

11.TheinfinitesimalloopofideologyinWR:
MysteriesoftheOrganism(1971).

breakinYugoslaviawhichculminatedintheBelgradestudent
demonstrationsof1968.[33]Thesociohistoricalpictureevokesthe
complexquantitythatisSerbiancutting.
MakavejevdirectedSweetMoviein1974asaCanadianFrenchWest
Germancoproduction.Inthisfilm,yetagain,two(fictional)narrative
threadsarecorrelated:thejourneyofsexualawakeningforMiss
Canada(CaroleLaure)andthefatefulboatjourneyofoneCaptain
AnnaPlaneta(AnnaPrucnal).ThemostaffectinginstanceofSerbian
cuttinginthefilmistheinsertionofascenedetailingtheKatynForest
massacre.[Figure12]

12.ThetitlesequenceintroducingtheKatyn
footageinSweetMovie(1974).Documentary
footageasindirectdiscourse.

TheKatynForestsceneiscomposedofarchivalactualityfootageshot
bytheNazisin1943whentheyexcavatedthesiteofthemasskillings
ofPolishofficersandciviliansbytheSovietsinKatynForest.This
disturbingdocumentaryfootageisnotnecessarilyusedasasurrogate
forincompletescenesbutmoreasathematicextensionofthose
scenes,asindirectdiscoursethatreportsonatrocitiesandhushed
memories.Theactualityfootagerealizesthecapabilityofthe
documentarytobearwitnessanditalsoservesasvisibleevidenceina
literalsense.WhenNaziGermanydiscoveredthemassgravesinthe
KatynForestanddocumentedtheirexhumationtheyusedthefootage
asproofofSovietculpabilityandthefactthattherewerebutcherersof
menintheworldotherthanthemselves(perhapswecancallthisan
instanceofSovietcutting).[Figure13]
TheKatynsequenceinSweetMoviealsosymbolizesthearchival
impulsethatgovernsSerbiancuttinginamultifacetedway.Archival
workfunctionsontwoaxes,likeDeleuzeandGuattaristheoryof
assemblage.Itcanburyitemsforsafekeeping,deterritorializingthem
forfuturereferenceitcanunearthitems,rescuingthem,or
reterritorializetheminaneffortofrediscovery(orreassembly).Here,
thearchivalimpulseasdiggingintothepastforcluestounderstanding
thepresentismirroredbytheGermansdigginginthegroundto
unearthcorpses.[Figure14]Whenthesecorpsesareraisedtheyare
examinedfortheevidencetheycontain.Archivalworkisakintoan
autopsyandironicallythen,Serbiancuttingreanimatesratherthan
slaughters.[Figure15]
InhisbookTheLawsofImitationthesociologistGabrielTardewrites
that

13.SovietcuttinginSweetMovie(1974).

theworkofartanswers,nottotheneedofknowing
somethingnew,...buttothetrulylovingneedofseeing
again,offindingagainwithtirelessandeverkeener
eagerness,thatwhichonehasalreadyknownandloved
....[34]
TheactualityfootageintheKatynsequencetestifiestothisneedof
seeingagain.Thecorpsesthatareraisedarenotscientificobjectsbut
ratherformerhumanbeings.[Figure16]Weseeevidenceofthisasthe
examinerslookthroughidentificationcards,pictures,andothereffects
thatrevealsmilingfacesandindomitablespirits.Thesecorpseswere
onceknownandlovedandtheproofofthisrefusestostayburied.
ThearchivalimpulseandassemblageofSerbiancuttingrepresents
thistirelessandkeenereagerness,thistriumphoflifeinthefaceof
death.Throughthelovingneedofseeingagainamethodofmontageis
bornthatreawakensustoaworldoncelostandreclaimsit.

14.ThearchivalimpulseinSweetMovie
(1974).

Cutting.Passageofdeadimagestolivingimages.
Everythingblossomsafresh.
RobertBresson

Postscript

Anumberofquestionsarisewhenconsideringtheparticularsofthis
essay.Perhapsthemostimmediateiswhythisdemonstrationof
SerbiancuttingisfocusedonMakavejevandfurther,canthisconcept
notbeextendedtocovertheoperationsofotherdirectors?Thisleads
tothemorepointedquestion,DoesSerbiancuttingexistelsewhere?

15.SweetMovie(1974)Archivalworkis
similartoanautopsy.

16.SweetMovie(1974)Thatwhichone
hasalreadyknownandloved.

CertainlytheinfluenceofSerbiancuttingcanbefeltelsewhere
whetheritexists,perse,asspecificallyexplicatedinthisessay.Serbian
cuttingstandsalongtheevolutionarycontinuumofradicalformsof
montageasacontinuationandanoutgrowth.Inthisparticular
iterationofthatcontinuumitseemstofindauniquehousinginthe
filmsofMakavejev.ThetheorybehindSerbiancuttingcanbeusedasa
conceptualframeworkthatopensupthefilmsofMakavejevtoa
greaterunderstanding,puttingthemindialoguewiththiscontinuum
thetheorywasinfactconceivedforthispurposeandnottoposita
broaderclassificationorageneralizingnationaltrendinSerbian
cinema.Thisismaybeitsshortcomingasatheory,beingthattheories
typicallygeneralizetoachievetheireffect.Ofcoursethen,Serbian
cuttingmustlikewisebecritiquedforitsparticularizinguseofthe
descriptiveSerbian.Funnyhowthatadjectiveinandofitselfoften
requiresanapologeticdisclaimeruponitsapplication.
PerhapsitisproblematictocallthisaestheticmodeSerbiancutting
foranynumberofreasons,nottheleastofwhichbeingthefactthat
thefilmsreferredtoherewereproducedduringtheeraofYugoslavia
whenSerbiawasnotanindependentnationbutratheraconstituent
republic.Problemsofthissortmayariseifwewanttoairthis
conceptionoutandtestitsfunctioningwithotherfilmsand
filmmakers(whetherSerbianornot).BothMakavejevandVucicevic
areofSerbianethnicorigin,whichlendssomeunderstandingtothe
humorousselfbrandingandidentificationinitiatedbythelatter.In
ordertofurtherunderstanditscreationwemustconsidertheerawhen
Serbiancuttingwasconceptualized,whichwasafterMakavejevceased
hisfilmmakingactivities(anddecadesafterthefilmsdescribedinthis
essay).
AspreviouslymentionedthenotionofSerbiancuttingwasatongue
incheekresponseforwardedbyVucicevicduringthetimeofthe
Yugoslavwarsofsecession.ThiswasatimewhenSerbswerelargely
demonizedbothinternallyandinternationallyasthebadguys,as
thosethatwereatfaultinthewarsandwhomustultimatelycarrythe
blamefornearly90percentofitshorrors.Aslyculturalandpolitical
commentator,Vucicevicsjokecanalsobereadasacynicalcomment
onSerbiannationalism,whichwaspervertedandusedbythosein
powertofantheflamesofintolerance(andwhichultimatelymade
pariahsoutofSerbs).Withthissortofironiccontrastofessentialisms
inmindSerbiancuttingcanonlybeSerbiantoholdconsistentasa
critique,itcanonlybeSerbiantoredirectthatcritiquetowardsan
outsideworldthathasbeenalltooeagertoparticipateinthe
continuedBalkanizationanddismembermentoftheRepublicof
Serbia.Serbiancuttingtrulyisadoubleedgedsword,asdescribed
earlier.
Becauseofitsplayfulyetbitingnatureassatireitispossiblethat
Serbiancutting(ascinematicpractice)doesnotexistatall,whichthen
provokesaquestion:Canjokesbetheorized?Thetruthisthatall
theoriesarejokesbecausetheyarenotrealitytheysimplifyreality.
Theyattempttoexplainrealitybutonlybycreatingtheirown(false)
realities.Serbiancuttingispartandparceloftheuniquelycynical
senseofhumor(oftenselfdeprecating)andabsurditythatpermeates
lifeinSerbia,whichisoftenbitterlyironicbecauseofthecruel
conditionsonemustsurvivethrough.Thissavageanddestructive
senseofhumorcharacterizesVucicevicsbookPaperMoviesfrom
starttofinish,justasaneruptiveandoftendarksenseofhumor
characterizesthefilmsofMakavejev.

Thoughalltheoriesarefalsethereisalittlebitoftruthineveryjoke.It
isalmostcertainthatVucicevicwouldfindlaughableherethe
academicleapsandpostulatesthathiswritinghasservedasa
launchinggroundfor.Weshallendthisessaythenasitspointof
departurebegan,withawisecrack:
AfatherfromtheSerbiancountrysidebringshissontothe
bigcity.Thefatheraskshisfriend,awealthybusiness
owner,ifhecanhelpoutandgivehisuneducatedsonajob.
Hisfriendsays,Sure.Icanmakehimpresidentofthefirm.
Noquestionsasked!Thefathersays,No,thatstoomuch
money.Itwillspoilhim.Doyouhavesomethingsmaller?
Thefriendsays,Sure.WhydontImakehimthemanager?
Thefathersays,No,hesnotreadyforthat.Hesnotso
smart.Doyouhavesomethingsmaller?Thefriendtriesto
thinkofsomethingbutdrawsablank.Thefathersays,
Cantyoujuststarthimoutasanassistant?Thefriend
shakeshisheadandsays,Sorry.Heneedsauniversity
degreeforthat.
GotoNotespage

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Notes
1.ThisisdescribedinJulianStraussarticle(DailyTelegraph,June30,
2001)ontheKosovokillings.[returntopage3ofessay]
2.StjepanG.Mestrovic(ed.).Genocideafteremotion:thepostemotional
balkanwar(LondonNewYork:Routledge,1996),p.8.

3.BrankoVucicevic.Papermovies(BelgradeZagreb:Arkzin&B92,1998),p.
36.
4.Acondensedversionofthisessaywaspresentedduringtheinternational
documentarystudiesconferenceVisibleEvidenceXVIIatBogaziciUniversity
(Istanbul,Turkey),August912,2010.
5.AnnetteMichelson(ed.).Kinoeye:thewritingsofDzigaVertov(Berkeley
LosAngeles:UniversityofCaliforniaPress,1984),p.8.
6.Ibid.
7.Ibid.
8.Ibid.,p.90.
9.Ibid.
10.Ibid.
11.Ibid.,p.91.
12.Ibid.,p.88.
13.Ibid.
14.TrinhT.Minhha.TheTotalizingQuestofMeaninginTheorizing
documentaryeditedbyMichaelRenov(NewYork:Routledge,1993),p.107.
15.Ibid.
16.Ibid.,p.92.
17.Ibid.,p.100.
18.Ibid.
19.Ibid.,p.105.
20.Ibid.

21.Ibid.
22.Ibid.
23.Ibid.
24.GillesDeleuzeandFlixGuattari.Athousandplateaus:capitalismand
schizophrenia(LondonNewYork:Continuum,2004),p.96.
25.Ibid.,p.93.
26.AnnetteMichelson(ed.).Kinoeye:thewritingsofDzigaVertov
(BerkeleyLosAngeles:UniversityofCaliforniaPress,1984),p.9.
27.GillesDeleuzeandFlixGuattari.Athousandplateaus:capitalismand
schizophrenia(LondonNewYork:Continuum,2004),pp.9798.
28.BrankoVucicevic.Papermovies(BelgradeZagreb:Arkzin&B92,1998),
p.38.
29.InterviewwithBrankoVucicevicconductedbyGregDeCuir,Jr.in
February2008.
29b.KarlMarx.Capital,VolumeOneinTheMarxEngelsreadereditedby
RobertC.Tucker(NewYorkLondon:W.W.Norton&Company,1978),p.
320.
30.ItshouldalsobenotedthatBelgradewasbombedmultipletimesbyboth
AlliedforcesandtheAxispowersduringWorldWarII.Onecannotbesure
whichbombingraidresultedintheactualityfootagepresented.[returnto
page4]
31.ThekoloisatraditionalYugoslavfolkdancefeaturinggroupsofpeople
holdinghandsandmovinginunison.Kolocanmeancircleorringwhen
translatedandthedancersoftenappropriatethisshape.
32.ThisbreakoccurredwhenYugoslaviawasexpelledfromtheCominform,
whichmarkedapolitical/philosophicalturningpointforthenewlyformed
country.OnJune27,1950YugoslaviasfamousLawontheManagementof
StateEconomicAssociationsbyWorkCollectivesestablishingself
managementintheworkplacewasintroduced.AttheYugoslavCommunist
Partys6thCongressinZagrebin1952TitorejectedStalin,thewriter
MiroslavKrlezarejectedsocialistrealism,theDepartmentofAgitationand
Propaganda(Agitprop)wasdisbandedandthepartyvotedtochangeitsname
totheLeagueofYugoslavCommunistsallwhileTitospokeoftheneedto
havethepartystepbackfromdirectcontrolofcentralgovernment.
33.TheBelgradestudentdemonstrationsoccurredinJune1968partlyin
responsetotheMay68unrestinParis.Theflashpointforthestudentunrest
wasabloodyconfrontationbetweenstudentsandpoliceintheStudentCity
districtofBelgrade.ThisledtostudentsoccupyingthebuildingoftheFaculty
ofPhilosophyattheUniversityofBelgradeandrenamingitKarlMarxRed
University.Generallyspeakingthestudentswereagitatingforanendto
corruptionandanimprovedsocialismwhilethetargetsoftheircritiquewere
partyfunctionarieswhotheyderisivelylabeledredbourgeoisie.

34.GabrielTarde.Thelawsofimitation(NewYork:HenryHoltand
Company,1903),p.354.

References
Deleuze,Gilles,andFlixGuattari.Athousandplateaus:capitalismand
schizophrenia.LondonNewYork:Continuum,2004.
Ilic,MihailoP.Serbiancutting.Belgrade:FilmskicentarSrbije,2008.
Mestrovic,StjepanG.(ed.).Genocideafteremotion:thepostemotional
balkanwar.LondonNewYork:Routledge,1996.
Michelson,Annette(ed.).Kinoeye:thewritingsofDzigaVertov.Berkeley
LosAngeles:UniversityofCaliforniaPress,1984.
Renov,Michael(ed.).Theorizingdocumentary.NewYork:Routledge,1993.
Tarde,Gabriel.Thelawsofimitation.NewYork:HenryHoltandCompany,
1903.
Vucicevic,Branko.Papermovies.BelgradeZagreb:Arkzin&B92,1998.
Totop

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