Slobodan Šijan's (b. 1946) single-page, double-sided fanzine Film Leaflet (Filmski letak), created and distributed monthly from 1976 to 1979, exemplifies a paracinematic form that transcends our habitual understanding of what constitutes a film. It is an amalgamation of fan writing, drawings, photography, critical analysis of films and filmmakers, appropriated newspaper clippings, cine-poetry, storyboards, postcards, and the like. Compiled with a do-it-yourself aesthetic, Šijan's fanzine was conceived as a project of serial “paper movies,” as influential film critic and scriptwriter Branko Vučićević terms such combinations of text and image, and which film scholar Pavle Levi calls “cinema by other means.” Film Leaflet occupied a marginal position in the broader public consciousness and even in the world of Yugoslav experimental and amateur cinema. Šijan's fanzine was produced in minute quantities and not referenced in other print media, making it impossible to assess the impact it might have had on the Yugoslav reception of the foreign and domestic films, in various genres and styles, it referenced.

This chapter examines Film Leaflet as both a hypertext for thinking about cinema and a concrete, experiential embodiment of the Yugoslav cine-apparatus of the 1970s. Conceptualized as a platform for the free use of film history, mass media, and pop culture in critical practice, Šijan's fanzine directly appropriated—resignified, recombined, and reproduced—diverging content across media to articulate a “new language” of film thought, along with a practice of critical inquiry into cultural reproduction.