Љускари на прсима Александра Вуча и Марка Ристића: контекстуално-аналитичко сагледавање визуелних колажа = Crustaceans on the Chest by Aleksandar Vučo and Marko Ristić: A Contextual and Analytical Approach to the Visual Collages. Летопис Матице српск

This article examines the paper film Ljuskari na prsima (Crustaceans on the Chest, 1930) by Aleksandar Vučo and Marko Ristić, focusing on Ristić's twelve collages that form the work’s visual component through several research lenses. Crustaceans on the Chest sits within its Surrealist context, drawing connections to contemporary works of the period, most notably Max Ernst's collages. The study explores Ristić’s method of appropriation and dissects the structural composition of his work. Furthermore, his visual contributions are interpreted in relation to Vučo’s text, highlighting the intricate interplay between the visual and textual narratives and their correspondence with the cinematic medium.

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Publication Details

Journal
Figshare
Published
2026-11-09
DOI
https://doi.org/10.6084/m9.figshare.34962358
Primary Topic
Cinema History and Criticism
Type
article
Field-Weighted Citation Impact
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article

Љускари на прсима Александра Вуча и Марка Ристића: контекстуално-аналитичко сагледавање визуелних колажа = Crustaceans on the Chest by Aleksandar Vučo and Marko Ristić: A Contextual and Analytical Approach to the Visual Collages. Летопис Матице српск

Teodora Zanoškar
Figshare
Cinema History and Criticism
article

Љускари на прсима Александра Вуча и Марка Ристића: контекстуално-аналитичко сагледавање визуелних колажа = Crustaceans on the Chest by Aleksandar Vučo and Marko Ristić: A Contextual and Analytical Approach to the Visual Collages. Летопис Матице српск

Teodora Zanoškar
article en

Abstract

This article examines the paper film Ljuskari na prsima (Crustaceans on the Chest, 1930) by Aleksandar Vučo and Marko Ristić, focusing on Ristić's twelve collages that form the work’s visual component through several research lenses. Crustaceans on the Chest sits within its Surrealist context, drawing connections to contemporary works of the period, most notably Max Ernst's collages. The study explores Ristić’s method of appropriation and dissects the structural composition of his work. Furthermore, his visual contributions are interpreted in relation to Vučo’s text, highlighting the intricate interplay between the visual and textual narratives and their correspondence with the cinematic medium.

Figshare
Cinema History and Criticism
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