Cinema of Flames: Balkan Film, Culture and the MediaFirst 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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Страница 116
... two archetypal Belgrade figures , who together represent the cliché image of Serb heroes created by nationalist ... that he intentionally represented the Croats and the Slovenes in an unfavourable light , because : 116 CINEMA OF FLAMES.
... two archetypal Belgrade figures , who together represent the cliché image of Serb heroes created by nationalist ... that he intentionally represented the Croats and the Slovenes in an unfavourable light , because : 116 CINEMA OF FLAMES.
Страница 120
Blacky , the only one shown as a direct perpetrator of the aggression in the 1990s war scene , claims that he only represents himself , defending his country ( without ever specifying which country it is ) .
Blacky , the only one shown as a direct perpetrator of the aggression in the 1990s war scene , claims that he only represents himself , defending his country ( without ever specifying which country it is ) .
Страница 219
This may again be taken as a commentary on broader Yugoslav experiences ( here represented by the weak Roma ) in relation to the ' international community ' ( represented by the bossy entrepreneur ) . Sometimes these political parallels ...
This may again be taken as a commentary on broader Yugoslav experiences ( here represented by the weak Roma ) in relation to the ' international community ' ( represented by the bossy entrepreneur ) . Sometimes these political parallels ...
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Съдържание
War in the Balkans Moving Images | 5 |
Are the Balkans Admissible? The Discourse | 29 |
Narrating the Balkans | 55 |
Авторско право | |
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