A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

The Botorić Family

SVETOZAR BOTORIĆ, the first film producer in the Balkans

Svetozar BOTORIĆ was born in 1857 in a small country spot called Botorići (where members of his family still live and dedicate themselves to agriculture), not away from the mountainous village of Opaljenik, 20 km distant from Ivanjica, i.e. 240 km far from Belgrade. Following his arrival in Belgrade, S. Botorić worked in various commercial businesses; as an exceptional hard-worker, he succeeded in saving money and acquired successively a coffe-shop and a restaurant; finally, he became (in May 1899) the owner of the hotel «Paris», located at Terazije (centre of Belgrade). Quickly, he had intuition of the importance of cinema industry, opened a movie theater in his hotel and became the representative of the famous «Pathé frères» film company in the Balkans. Then, he invested his own resources (State subsidies did not exist) and, in a short period (1911-1914), he produced two feature films and twenty documentaries. His whole activity was designed to help his country and Serbian people and leave spiritual and cultural legacy to future generations. His patriotic work did not stay unnoticed by Serbian enemies : promptly after their invading of Serbia (1915), Austro-Hungarians sent him to a concentration camp in Nežider. S.Botorić died there on November 27th 1916, leaving his widow Slavka with three minor children: his son Miloš (13 years old), daughter Roksanda (9y) and little Stanica (7 yrs). Slavka Botorić did not marry again and succeeded in bringing up her children (all of them had university degrees), asking them to never forget their roots and spiritual and cultural Serbian traditions.

The documentary film about «The BOTORIĆ FAMILY» (65 minutes duration)

The documentary film «BOTORIĆI» (about the family of Svetozar BOTORIĆ) represents a testimony about the sufferings of a Serbian family all over the Twentieth century. Based upon family documents and on interviews given by Stanica Botorić (a daughter of Svetozar Botorić) and Ljubomir Mihailović (his grandson), this film shows the beginning of movie projections in Serbia, before the First World War (testimonies by cinema researchers and historians about the first permanent movie theater in Belgrade, in Botorić-owned hotel «Paris») as well as the making of first feature films in the Balkans, including «Life and deeds of immortal duke Karadjordje» (interviews of film experts and historians).

This film also evidences the fate of Svetozar Botorić family, all possessions of which were seized after the Second World War. His daughter, Stanica, was removed from the Music Academy in Belgrade, where she has been a professor (1937-1945), since she «belonged to a bourgeois family» (her former students gave interviews for this film). After the tragic death of her husband, Pavle Mihailović, in an aircrash in 1950, Stanica Botorić had to escape to Paris in order to get a job there (she had a French diploma in piano), but was separated during 18 months from her son (during this period, Yugoslav authorities did not accept to deliver a passport to her 9 year-old son). Thirty years later, Stanica Botorić had to «empty» the family tomb in Belgrade (due to lack of space for growing number of dying local VIPs) and to transfer all her family bodies to a small village in France, where Svetozar Botorić family now remains in peace.

The author of the film : Srdjan Knežević

Born in 1957, Srdjan Knežević graduated from the Faculty of Dramatic Arts in Belgrade and became a Master of Arts at the Faculty of Philosophy at the University of Belgrade. Ph.D. in Film Studies. Member of the Academy of Motion Picture Arts and Sciences in Belgrade and Academy of Science (Film Department) in Montenegro. Author of various documentary films.

Contact:

Srdjan Knežević
Resavska 12
11000 Belgrade, Serbia
Tel: 00381 11 324 3441
Е-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.


Светозар БОТОРИЋ, први филмски продуцент на Балкану

Светозар БОТОРИЋ се родио 1857. године у засеоку званом Боторићи (где и данас живе чланови породице Боторић који се баве пољопривредом), недалеко од планинског села Опаљеник, удаљен 20 км од Ивањице, то јест 240 км од Београда. По доласку у Београд, он почиње да ради у трговачким локалима; изузетно вредан и штедљив, успева да купи кафану па ресторан, и најзад постаје (у мају 1899) власник хотела «Париз» на Теразијама. Врло брзо, он осећа важност кинематографије, отвара биоскоп у свом хотелу и постаје представник чувене фирме «Pathé frères» на Балкану. Потом улаже своја собствена средства (државна помоћ није постојала) и, за кратко време (1911-1914), продуцира два играна филма и двадесетак документарних остварења. Цео тај подухват чини у циљу да помогне своме роду и да остави живу задужбину будућим Србима. Његова родољубска делатност не остаје незапажена од српских непријатеља: одмах по уласку у Србију, 1915. г, Аустроугари га шаљу у логор у Нежидер. Светозар Боторић ту умире 27. новембра 1916, остављајући удовицу Славку и три малолетна детета : сина Милоша (13 г), ћерку Роксанду (9 г) и малу Станицу (7 г). Славка Боторић се никада није преудала, али је успела да школује своју децу (сви су завршили факултет), остављујући својима као аманет да никад не забораве њихове корене ни лепе српске духовне и културне традиције.

ДОКУМЕНТАРНИ ФИЛМ «БОТОРИЋИ» (дужина: 65 минута)

Документарни филм «БОТОРИЋИ» (о пoродици Светозара Боторића) представља сведочанство о искушењима и страдањима једне српске породице у двадесетом веку. Основан на породичним документима и на сниманим разговорима са Станицом Боторић (ћерком Светозара Боторића) и са Љубомиром Михаиловићем (његовим унуком), филм показује почетак филмских приказивања у Србији, пре Првог светског рата, (сведочанства филмских стручњака и историчара о првом сталном биоскопу у Београду, у Боторићевом хотелу «Париз» ) као и на стварању првих играних филмовима на Балкану, међу којима «Живот и дела бесмртног вожда Карађорђа» (сведочанства стручњака и историчара).

У том филму показује се и прича о судбини породице Светозара Боторића, којој је после Другог Светског Рата цела имовина одузета. Боторићева ћерка Станица била је професор на Музичкој академији у Београду од 1937. до 1945. године, када је добила отказ «јер је припадала буржујској породици» (сведочанства њених ученица на Академији налазе се у филму). После трагичне смрти њеног мужа Павла Михаиловића, у авионској несрећи 1950. г, Станица Боторић морала је да тражи посао у Француској (била је француски ђак), али је тамо остала 18 месеци без сина (докле југословнске власти нису дале пасош њеном деветогодишњем детету). Тридесетак година касније, Станица Боторић је била принуђена да «испразни» породичну гробницу у Београду (због недостатка простора за умирујуће тадашње «великане») и да премести посмртне остатке породице у мало село у Француској, где данас почива цела породица Светозара Боторића.

Аутор филма: Срђан Кнежевић

Рођен у Београду 1957. г, Срђан Кнежевић је дипломирао на факултету драмаских уметности у Београду и магистрирао на филозофском факултету у Београду. Доктор је филмских студија и члан научних институција у Србији и у Црној Гори. Аутор је разних документарних филмова.

Контакт:

Срђан Кнежевић
Ресавска 12
11000 Београд, Србија
Тел: 00381 11 324 3441
Е-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.


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People Directory

Zoran Mojsilov

Zoran Mojsilov was born in Belgrade, Yugoslavia in 1955. As a small child, he carved his own toys out of scrap wood and was adept at drawing and painting. In early adolescence he began Greco-Roman wrestling and continued this practice into his mid-20’s. He credits the discipline of training, an understanding of the skeletal muscular forms in the human body, and the spirit of competition in sports and life as primary factors for creating art today.

Mojsilov left Belgrade in 1983 for Paris, France to test his artistic credibility. In 1984, he met Ilene Krug, an American Artist, at Association Confluences. After two productive years there, they decided to move to Minneapolis in 1986.

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Publishing

Sailors of the Sky

A conversation with Fr. Stamatis Skliris and Fr. Marko Rupnik on contemporary Christian art

In these timely conversations led by Fr. Radovan Bigovic, many issues are introduced that enable the contemporary reader to deepen and expand his or her understanding of the role of art in the life of the Church. Here we find answers to questions on the crisis of contemporary ecclesiastical art in West and East; the impact of Impressionism, Expressionism, Cubism, Surrealism and Abstract painting on contemporary ecclesiastical painting; and a consideration of the main distrinction between iconography and secular painting. The dialogue, while resolving some doubts about the difference between iconography, religious painting, and painting in general, reconciles the requirement to obey inconographic canons with the freedom essential to artistic creativity, demonstrating that obedience to the canons is not a threat to the vitatlity of iconography. Both artists illumine the role of prayer and ascetisicm in the art of iconography. They also mention curcial differences between iconography in the Orthodox Church and in Roman Catholicism. How important thse distinctions are when exploring the relationship between contemporary theology and art! In a time when postmodern "metaphysics' revitalizes every concept, these masters still believe that, to some extent, Post-Modernism adds to the revitatiztion of Christian art, stimulating questions about "artistic inspiration" and the essential asethetic categories of Christian painting. Their exceptionally wide, yet nonetheless deep, expertise assists their not-so-everday connections between theology, ar, and modern issues concerning society: "society" taken in its broader meaning as "civilization." Finally, the entire artistic project of Stamatis and Rupnik has important ecumenical implications that aswer a genuine longing for unity in the Christian word.

The text of this 94-page soft-bound book has been translated from the Serbian by Ivana Jakovljevic, Fr. Gregory Edwards, and Andrijana Krstic. Published by Sebastian Press, Western American Diocese of the Serbian Orthodox Church, Contemporary Christian Thought Series, number 7, First Edition, ISBN: 978-0-9719505-8-0