Novi Bečej and Vranjevo through History

Explore the extraordinary past of Novi Bečej and Vranjevo through the pages of the book 'Novi Bečej and Vranjevo through History.' Uncover political events, economic development, and cultural heritage of these Banat towns through richly documented stories. Follow the evolution from the earliest days to the present, delving into the intricate threads of political intrigues, economic transformations, and cultural ascensions. Experience the past through the eyes of the author as the pages of the book unfold before you, providing a unique perspective on the life and legacy of these significant locales.

Vojvodina cinema building
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Movie and Visual Arts

In addition to taverns, theaters, and other performances, entertainment for the residents of Novi Bečej also came in the form of cinema. It seems that in the 1930s, the inhabitants were enthralled by films, as evidenced by the fact that, for example, in 1927, there were even three cinemas in Novi Bečej and Vranjevo.

In Novi Bečej itself, there were the Royal cinema, located in the courtyard of the Royal Hotel building (now Jadran), and the Krka cinema, situated on the main street where the extension of Vuka Karadžić Street is today, from the main street to Petra Drapšina Street. These two cinemas offered two screenings per day on Thursdays, Saturdays, and Sundays until the period of the Great Depression, when the Royal cinema was shut down. In Vranjevo, Arsen Pecarski opened the Balkan cinema in 1927, where screenings were held on Saturday and Sunday evenings, but even this cinema was closed during the crisis.

Visual arts and painting exhibitions, apart from school-related ones, were not prominent in Novi Bečej, nor were there any private collections, nor any mention of galleries. After World War I, in 1920, the painter Aleksandrovna Jearakova moved as a refugee from Russia, and before World War II, Šandor Nađ from Vranjevo completed the Academy of Fine Arts in Belgrade and presented his works. There were, of course, excellent amateurs before him whose works were highly regarded. For example, the locomotive engineer at the brick factory, Bohn Sopini, painted, as did Žarko Čiplić, the Russian emigrant Miša Lagofet, and several younger artists like Đurika Sabo, among others. Among them, Žarko Čiplić held the most significant place, painting still lifes, portraits, and engaging in scenography in addition to icons.

Despite the modest conditions for the development of culture and art, as well as overall advancement that Novi Bečej offered after World War I, due to the newly created economic conditions, there were enthusiasts who did not resign themselves to the bleakness, even during the period of severe economic crisis.

In an effort to engage intellectuals, particularly educators, prominent figures in the cultural sphere organized a meeting of the Board of Directors of the Historical Society of Vojvodina in Novi Bečej.

The meeting was held "before a numerous audience, on November 21, 1936, in Novi Bečej, on the day of the celebration of the entry of the Serbian army into this town (1918). At this public meeting, short lectures were given by: Dr. Jovan Pivnički on the significance of the entry of the Serbian army into Novi Bečej on November 21, 1918; Dr. Tihomir Nikolajević on archaeological artifacts in Novi Bečej; Boško Pecarski on the churches in Novi Bečej; Dr. Dušan Popović on Novi Bečej during the Turkish era; Dr. Dim. Kirilović on Novi Bečej during the 1848/49 uprising; Mladen Leskovac on the Russophile sentiment of the old Novi Bečej Serbs during the Crimean War in 1854; and Jovan Dragin on the history of Vranjevo."

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