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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... past five years, since the birth of my son, I have had to move home three times. Leaving friends and family behind and changing places became an intricate part of my migratory existence. It would not have been possible to complete my.
... past five years, since the birth of my son, I have had to move home three times. Leaving friends and family behind and changing places became an intricate part of my migratory existence. It would not have been possible to complete my.
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... leaving an intensely coloured imprint of grief on one's visual memory. Bosnia. Sarajevo. Further on, the image inventory contains pictures of elderly villagers lying in the mud of their backyards with bullet holes in the backs of their ...
... leaving an intensely coloured imprint of grief on one's visual memory. Bosnia. Sarajevo. Further on, the image inventory contains pictures of elderly villagers lying in the mud of their backyards with bullet holes in the backs of their ...
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... leave the conceptual contours of the region fuzzy and flexible. My concept of the Balkans is not identical with the former Yugoslavia, but relates to a wider region in South-East Europe bordering on Asia Minor, the islands of the east ...
... leave the conceptual contours of the region fuzzy and flexible. My concept of the Balkans is not identical with the former Yugoslavia, but relates to a wider region in South-East Europe bordering on Asia Minor, the islands of the east ...
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... leaving for the Czech Republic in 1992. 7. Warheads (Germany, 1993), Dogs of War (UK, 1992). The war in Bosnia was shown through the eyes of a Western mercenary also in the feature Savior (USA, 1998). 8. Bosnia Hotel (France, 1996) ...
... leaving for the Czech Republic in 1992. 7. Warheads (Germany, 1993), Dogs of War (UK, 1992). The war in Bosnia was shown through the eyes of a Western mercenary also in the feature Savior (USA, 1998). 8. Bosnia Hotel (France, 1996) ...
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... leaves the country, heading at full speed toward the West. It passes Serbia, Croatia and Hungary, to reach Paris and even goes beyond it. For the duration of the filmone observes the reactions of the trapped passengers and listens to ...
... leaves the country, heading at full speed toward the West. It passes Serbia, Croatia and Hungary, to reach Paris and even goes beyond it. For the duration of the filmone observes the reactions of the trapped passengers and listens to ...
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