From Narration to Monstration
Representing Trauma in Ivan Martinac’s “House on the Sand”
Bibliographic Data
| ID | 21548794 |
|---|---|
| Authors | Višnja Pentić (0000-0001-9108-0429, Akademia Sztuk Pięknych w Gdańsku, corresponding author) |
| Year | 2025 |
| Issue | 129 |
| Pages | 121-144 |
| Publication date | 2025-04-03 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Kwartalnik Filmowy (JOURNAL) |
| Journal identifiers | ISSN: 0452-9502 • E-ISSN: 2719-2725 |
| Publisher | Instytut Sztuki Polskiej Akademii Nauk (PUBLISHER) |
| DOI | 10.36744/kf.3997 |
| OpenAlex | W4409117676 |
| Language | EN |
| References cited | 4 |
Ivan Martinac’s only feature film House on the Sand (Kuća na pijesku, 1985) is an avant-garde exploration of trauma within Yugoslav cinema, distinguished by its minimalist narrative and experimental techniques. Through parametric narration, the work deviates from traditional storytelling, embracing stylistic coherence over plot-driven narratives, akin to the approaches of directors like Robert Bresson and Michelangelo Antonioni. The narrative employs innovative cinematic techniques such as fixed camera positions, zooms, and pans. These elements emphasize the film’s internal coherence and detach the camera’s perspective from the characters, fostering an autonomous, meditative gaze. This approach aligns with André Gaudreault’s concept of monstration, wherein the camera itself actively constructs meaning through framing and movement, rather than merely documenting the plot. The camera serves as an omniscient yet alienated observer, reflecting Martinac’s broader philosophical engagement with the cinematic medium and its possibilities. This formal innovation situates the film as a unique artifact in both Croatian cinema and global filmmaking
Art · Art history · Literature · Narrative · Visual arts · Comics and Graphic Narratives · Contemporary Literature and Criticism · History · Memory, Trauma, and Commemoration
| Citation velocity | historical |
|---|---|
| Highly cited | No |