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Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
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While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
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Slavoljub Slavko Vorkapić

Slavoljub Slavko Vorkapić (Serbian Cyrillic: Славољуб Славко Воркапић; March 17, 1894 – October 20, 1976), known in English as Slavko Vorkapich, was a Serbian-American film director and editor, former Chair of USC Film School, painter, and a prominent figure of modern cinematography and film art.

Slavoljub Vorkapić was born on March 17, 1894, in the small village of Dobrinci near Ruma in the Syrmia region, at the time part of the Kingdom of Croatia and Slavonia of the Austro-Hungarian Empire (now Serbia). His father Petar, the town clerk, insisted that young Slavko should be well-educated.

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After finishing his primary education, he became a student in a well-known regional high-school in the nearby town of Sremska Mitrovica, where he made his first steps in art and drawing. He continued his high-school education in Zemun and later in the famous Art School in Belgrade. With a scholarship received from Matica srpska, Serbia's highest cultural and scientific institution at the time, Vorkapić went to Budapest, Hungary, where he studied art. At the beginning of World War I he immediately returned to his homeland where, with the country besieged on all sides, he survived the tragic Serbian retreat across Albania in order to reach Allied positions in Greece. From there he sailed to Italy, from where he reached France. He managed to enter Art Academy in Paris but soon after moved to Montparnasse among other Avant-garde artists. He took part in the 1917 and 1919 collective painter exhibits.

Slavko Vorkapić's dream to go to the United States was fulfilled in 1920. For a short time, he lived in New York City. Then, for almost a year, he roamed the country nearly homeless, until his arrival in Hollywood in July 1921. Although he started his film career as a painter and an actor, he became best known as a special effects expert, film artist, film teacher, director, editor and became one of the most respected filmmakers in the period between the two World Wars. Vorkapić made a great number of documentaries and experimental films.

Vorkapić co-directed the experimental short film The Life and Death of 9413: a Hollywood Extra (1928) with Robert Florey, and Moods of the Sea (1941) and Forest Murmurs (1947) with filmmaker John Hoffman (1904–1980).

He is best known for his montage work (see montage sequence) on Hollywood films such as Viva Villa (1934), David Copperfield (1935), San Francisco (1936), The Good Earth (1937), and Mr. Smith Goes to Washington (1939). In October 2005, the DVD collection Unseen Cinema: Early American Avant Garde Film 1894-1941 was released and included a one-minute montage sequence Vorkapich did for the otherwise lost film Manhattan Cocktail (1928), directed by Dorothy Arzner.

The now-common montage sequence often appeared as notation in Hollywood scripts of the 1930s and 40s as the "vorkapich" because of his mastery of the dynamic visual montage sequence wherein time and space are compressed using a variety of editing techniques and camera moves. Vorkapich used kinetic editing, lap dissolves, tracking shots, creative graphics and optical effects for his stunning montage sequences for such features as Meet John Doe, Maytime, Crime Without Passion, Manhattan Melodrama, and Firefly. He created, shot, and edited these kinesthetic montages for features at Universal Studios (then known as Universal Pictures), MGM, RKO, and Paramount.

His protege, Art Clokey, learned kinescope animation techniques under him and went on to create the Gumby animated series.

He was appointed chair of the Department of Film of the University of Southern California from 1949-1951.

In 1938 Vorkapich commissioned modern architect Gregory Ain to build a garden house for his Beverly Hills residence. It was a minor landmark in prefabricated architecture. It has since been destroyed.

During the 1950s he was in Yugoslavia and worked as a professor at the Belgrade Film and Theatre Academy. In Yugoslavia in 1955 Vorkapić made his last full-length movie Hanka.

Slavko Vorkapić died of a heart attack in Mijas, Spain, on the estate of his son on October 20, 1976.

Two of his many master drawings, his gift during a visit to Yugoslavia, are kept in the Syrmia Museum in Sremska Mitrovica. Recent reports say that his descendants are ready to fulfill Vorkapić’s last will and testament to donate the same museum with all of his remaining art drawings.

Sources

  • The Most typical Avant-Garde James, David - 2005
  • On True Cinema, Babac, Marko - 1998
  • Slavko Vorkapich: Reminiscences - Davis, Ronald - 1978

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Bishop Damaskin (Grdanički)

The vacant episcopal post of the American-Canadian Diocese was filled on June 22, 1938 at the Regular Session of the Holy Assembly of Bishops of the Serbian Orthodox Church. Elected as its second Diocesan Hierarch was Bishop Dr. Damaskin (Grdanicki) of Mukachevo and Priashevo.

Bishop Damaskin was born in Leskovac in 1892. He graduated from the nine year St. Sava Seminary in Belgrade, while simultaneously attending the Belgrade Music School. After finishing the Seminary, he taught music at the First High School in Kragujevac. Received into the monastic order at Rakovica Monastery by Archimandrite Platon, later martyred as Bishop of Banja Luka, he studied at the St. Petersburg Theological Academy where he received a Master's Degree in Theology in 1917. He then went to Freiburg, Switzerland where he obtained a Ph.D. in Philosophy.

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The Meaning of Reality

Essays on Existence and Communion, Eros and History

by Christos Yannaras

The collection of articles traces the thought of Christos Yanaras through his long journey in discovering the meaning of existence, communion, eros, and history. It is a cause of immense joy that no fewer than twenty articles of passionate significance and substance have at present been gathered together in this volume under the title The Meaning of Reality.

Yannaras is undoubtedly one of the most significant thinkers of our time. Kallistos Ware once described him as "the most creative and prophetic religious thinker at work in Greece today," while Rowan Williams characterizes him as "one of the most significant Christian philosophers in Europe." His very wide and no less deep education helps him to develop an inimitable blend of philosophy, theology, and social criticism, and to speak in an original way about the traditional and contemporary issues of human existence, as well as the latest challenges of modern empirical science and political engagement. A detailed knowledge of the writings of the Holy Fathers has always been his foundation amidst the labyrinth of modern thought - which is inimately bound up with psychoanalysis, environmental issues, human rights, postmodernism, and pluralism , to mention just a few. Insistence on the primacy, uniqueness, and eternal value of human personality prevails in almost all his works and inspires his own vigorous theological and ecumenical engagement, based on the Orthodox eucharistic and ascetic tradition.