The paradigm child of the Children's Republic in film The Seventh Continent by Dušan Vuković

Cilj ovog rada je analizirati film Sedmi kontinent (1966.) Dušana Vukotića terminologijom i postavkama kulturološke paradigme dijete – stanovnik dječje republike (Majhut i Lovrić Kralj 2016) koja je izgrađena za vrijeme komunizma u Jugoslaviji. Paradigma djetinjstva dijete-stanovnik dječje republike je slika sretnog djetinjstva koju promovira ideologija Komunističke partije Jugoslavije nakon Drugog svjetskog rata. Ova paradigma nije jedina paradigma djetinjstva koja je prisutna u socijalističkom društvu u to vrijeme. Prethodi joj paradigma djetinjstva dijete–heroj sa suprotnim obilježjima u odnosu na paradigmu sretnog djetinjstva. Iako su dvije paradigme u suprotnosti, jedna ne isključuje postojanje druge. Obje paradigme dio su indoktriniranog sustava koji želi odgojiti djecu na sliku pravog socijalističkog čovjeka. Ideologija komunističkog režima prožimala se kroz obrazovni sustav i „slobodne aktivnosti“ omladine. Elementi ovih paradigmi mogu vidjeti i u umjetničkom stvaralaštvu tadašnje države. Kinematografija tog vremena odražava paradigme djetinjstva socijalističke Jugoslavije. Elementi paradigme dijete – stanovnik dječje republike natapaju film Sedmi kontinent (1966.) Dušana Vukotića, hrvatskog oskarovca koji stvara u vrijeme komunističkog režima.The aim of this paper is to analyse the film The Seventh Continent (1966.) by Dušan Vukotić using the terminology of the cultural paradigm of the child – a resident of a children's republic (Majhut and Lovrić Kralj 2016), which was created during communism in Yugoslavia. The childhood paradigm of a child - a resident of a children's republic (Majhut and Lovrić Kralj 2016) is a picture of a happy childhood promoted by the ideology of the Communist Party of Yugoslavia after the Second World War. This paradigm is not the only paradigm of childhood that is present in the socialist society at that time. It was presented to society after the paradigm of childhood a child - the hero with opposite characteristics compared to the paradigm of a happy childhood. Although the two paradigms are opposed, one does not exclude the existence of the other. Both paradigms are part of an indoctrinated system that wants to raise children by the image of a true socialist man. The ideology of the communist regime permeated the education system and the "free activities" of the youth, so elements of these paradigms can be seen in the artistic creation of the country at that time. The cinematography of that time reflects the paradigms of the childhood in socialist Yugoslavia. The elements of the child - resident of a children's republic paradigm permeate the film The Seventh Continent (1966.) by Dušan Vukotić, a Croatian Oscar winner who created during the communist regime