Cinema of Flames: Balkan Film, Culture and the MediaBloomsbury Publishing, 25.07.2019 г. - 320 страници First study of cinema, media and the Balkan wars; Wide-ranging view of politics and culture of the region; The break-up of Yugoslavia triggered a truly international film-making project. Underground, Ulysses' Gaze, Before the Rain, Pretty Village, Pretty Flame and Welcome to Sarajevo were amongst a host of films created as the conflicts in the region unravelled. These conflicts restored the Balkans as a centrepiece of Western imagery and the media (especially cinema) assumed a leading but ambiguous role in defining it for global consumption through a narrow range of selectively defined images. Simultaneously, a lot of the high-quality cinematic and television work made in the region (much of it discussed in this book) remains relatively unknown. Cinema of Flames attempts to go deeper than the imagery and address some of the general concerns of the cross-cultural representation and self-representation of the Balkans: narrative strategies within the context of Balkan exclusion from the European cultural sphere, the cosmopolitan image of Sarejevo, diaspora, and the representations of villains, victims, women, and ethnic minorities, all considered in the general context of Balkan cinema. 'encyclopaedic in scope and brilliance, making excellent use of the scholarly literature whilst interweaving analysis of films and other mass media. The book will be a superb addition to the literatures on Bosnia and Yugoslavia. It will also serve as a standard reference on Balkans film.' Robert Hayden (University of Pittsburgh) |
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... America (1995) was written and directed by Serbs, and told the story of exiles from Montenegro and Spain who lived in ... American Harvey Keitel, Swede Erland Josephson and Romanian Maia Morgenstern. Major European directors turned their ...
... America (1995) was written and directed by Serbs, and told the story of exiles from Montenegro and Spain who lived in ... American Harvey Keitel, Swede Erland Josephson and Romanian Maia Morgenstern. Major European directors turned their ...
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... American documentaries were made independently and received little exposure, mostly seen at festivals or at occasional screenings. There was also the genre of the so-called home-videos, shot on the spot in former Yugoslavia and then ...
... American documentaries were made independently and received little exposure, mostly seen at festivals or at occasional screenings. There was also the genre of the so-called home-videos, shot on the spot in former Yugoslavia and then ...
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... America and barely touched on the Bosnian crisis.18 After 1993, films related to the war in former Yugoslavia started appearing regularly at all major feature and documentary festivals. In 1994 Milcho Manchevski's Before the Rain won ...
... America and barely touched on the Bosnian crisis.18 After 1993, films related to the war in former Yugoslavia started appearing regularly at all major feature and documentary festivals. In 1994 Milcho Manchevski's Before the Rain won ...
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... American New Yorker (they currently carry Forever Mozart, Underground and Vukovar: Poste Restante) or October Films (they distribute Someone Else's America). There were also some paradoxes: with a few exceptions, films made by ...
... American New Yorker (they currently carry Forever Mozart, Underground and Vukovar: Poste Restante) or October Films (they distribute Someone Else's America). There were also some paradoxes: with a few exceptions, films made by ...
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... is mostly represented by monographs focusing on single countries or directors. The amount of English-language writing on Balkan cinema is really scarce. There are only two American studies that claim to deal with Balkan cinema as an.
... is mostly represented by monographs focusing on single countries or directors. The amount of English-language writing on Balkan cinema is really scarce. There are only two American studies that claim to deal with Balkan cinema as an.
Съдържание
Narrative and Putative History | |
Balkan Film and History The Politics of Historical | |
Kusturicas Underground Historical Allegory | |
Taking Sides | |
Villains and Victims | |
Representing Womens Concerns | |
Gypsies Looking at Them Defining Oneself | |
Visions of Sarajevo The World Comes to the Balkans | |
Migrating Mind and Expanding Universe The Balkans | |
Aftermath? Fragmentary Notes | |
Bibliography | |
Filmography | |
Violence Violated Trust Indoctrination Self | |
Index | |
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Често срещани думи и фрази
Albanian Aleksandar Arkan audiences Balkan Balkan cinema Balkan countries Balkan film Balkan film-makers Belgrade Bosnia Bosnian war Bulgaria camp civilisations claim conflict context coverage critics Croat Croatian cultural depicted director discourse discussion documentary Dragojević Dušan Makavejev Eastern Europe Emir Kusturica ethnic European example experiences explored feature feminist Film Festival film’s footage former Yugoslavia France Gaze Germany Goran Goran Paskaljević Greece Greek Gypsies here–here Holocaust identity intellectuals International Film Islamic issues journalists killed Kosovo lives London look Lordan Zafranović Macedonia Manchevski Marko Michael migration moral Muslim narrative nationalist Ophuls Ottoman perpetrators political Press Pretty Flame Pretty Village propaganda protagonists rape region representations Roma Romania Rosenstone Sarajevan Sarajevo scenes seen Serbian Serbs shot siege Srdjan story take sides talk Theo Angelopoulos Tito Tito’s today’s turbo-folk Underground University victims villains violence Vukovar West Western women York Yugoslav Zafranović Želimir Žilnik Žilnik Zorba