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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... believed, was keeping them from leaping forward to an era in which the neat and pretty dreams of democracy and affluence, put on hold indefinitely by communism, could be fulfilled. Everything that people in the Balkans were doing was ...
... believed, was keeping them from leaping forward to an era in which the neat and pretty dreams of democracy and affluence, put on hold indefinitely by communism, could be fulfilled. Everything that people in the Balkans were doing was ...
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... believed it was to be represented. The politically correct blockbuster Welcome to Sarajevo comes under my scrutiny in this context. My second exploration of space is focused on the cinematic treatment of the migration of Balkan people ...
... believed it was to be represented. The politically correct blockbuster Welcome to Sarajevo comes under my scrutiny in this context. My second exploration of space is focused on the cinematic treatment of the migration of Balkan people ...
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... believed to provide the basic principles for the cultural and social life in the Western part of the continent that goes by the same name: democracy, freedom of enterprise, free speech, respect for human rights, individualism. But most ...
... believed to provide the basic principles for the cultural and social life in the Western part of the continent that goes by the same name: democracy, freedom of enterprise, free speech, respect for human rights, individualism. But most ...
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... believed in the Balkans, where national ideologies depict the respective nations not as a'margin'but as a'bridge'between the Occident and the Orient. In the 1980s and 1990s, the discourse on Europe, dormant during the cold war years, re ...
... believed in the Balkans, where national ideologies depict the respective nations not as a'margin'but as a'bridge'between the Occident and the Orient. In the 1980s and 1990s, the discourse on Europe, dormant during the cold war years, re ...
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... it. Their reaction is one of disillusionment and bitterness. Many in former Yugoslavia believed in vain that the West would rush to intervene and put an end to the conflict there, and were puzzled for quite some time when it did not:
... it. Their reaction is one of disillusionment and bitterness. Many in former Yugoslavia believed in vain that the West would rush to intervene and put an end to the conflict there, and were puzzled for quite some time when it did not:
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