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12-1 Bulgarian Cinema - Historical Context: Second Generation:




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This article is from the Bulgaria FAQ, by Dragomir R. Radev radev@tune.cs.columbia.edu with numerous contributions by others.

12-1 Bulgarian Cinema - Historical Context: Second Generation:

Metodi Andonov (1932); Lyudmil Kirkov (1933); Ivan Terziev (1934);
Ivan Andonov (1934); Lyudmil Staikov (1937); Edward Zahariev (1938);
Georgi Stoyanov (1939); Mariana Evstatieva (1939); Nikola Rudarov;
Ivan Nichev (1940); Georgi Djulgerov (1943); Ivanka Grubcheva
(1946)

Black Years.

Continuing the ritual of color codification, one may paint
the sad mask of the last decade black. "Why the bottom should have
suddenly fallen out of Bulgarian cinema at a time when it had definitely
reached maturity is solely a matter of speculation," writes Ronald Holloway.
Putting aside his somewhat naive speculations, but also refusing to go into
lengthy analyses, let it simply be proposed that the ultimate reason which
led Bulgarian cinema to its slow decadence is the same that later brought
the whole socialist system to collapse in the country, and all over Eastern
Europe, rather than some personal changes in the corridors of power.
Although "even the better films seemed 'old hat' in comparison to those
produced during the previous decade", this period is important for the
emergence of a third generation of directors. This is the first generation
of film directors who graduated from the Sofia Film and Theater Academy
(VITIS); Nikolai Volev, an internationally recognized documentarist
graduated in London, and Henri Koulev, a controversial animator graduated
in Moscow. Another is Peter Popzlatev, who graduated in Paris. All are
counted here because their major feature works were produced in the 80's.

 

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