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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Страница 3
... cultures became my focal point of interest. And this is how this text came into being. I first became interested in the films made in response to the Balkan crisis in 1994. Only in the autumn of 1996, however, did I have the chance to ...
... cultures became my focal point of interest. And this is how this text came into being. I first became interested in the films made in response to the Balkan crisis in 1994. Only in the autumn of 1996, however, did I have the chance to ...
Страница 4
... cultural representation of the Balkans , however , remains invariably important and controversial . And it is this subtle role that I hope to have captured and problematised in my work . Chapter 1 - War in the Balkans – Moving Images 4 ...
... cultural representation of the Balkans , however , remains invariably important and controversial . And it is this subtle role that I hope to have captured and problematised in my work . Chapter 1 - War in the Balkans – Moving Images 4 ...
Страница 5
... cultural image - making as it unravels within the wider context of communicated concepts and interpretations . Second , because in today's world of electronic media , images reach out wider than writings , a fact which is still rarely ...
... cultural image - making as it unravels within the wider context of communicated concepts and interpretations . Second , because in today's world of electronic media , images reach out wider than writings , a fact which is still rarely ...
Страница 6
... cultural causality is a crucial area on which to focus , because it has more to do with the construction of mar- ginality via selectively mediated images than nationalist discourse does ( this last one I see as a derivative of the ...
... cultural causality is a crucial area on which to focus , because it has more to do with the construction of mar- ginality via selectively mediated images than nationalist discourse does ( this last one I see as a derivative of the ...
Страница 7
... cultural legacy and modern - day trends . Although the concept of the ' Ottoman legacy ' is far too often abused by journalists to explain every manifestation of lesser political cul- ture , the very fact that the Balkans were part of ...
... cultural legacy and modern - day trends . Although the concept of the ' Ottoman legacy ' is far too often abused by journalists to explain every manifestation of lesser political cul- ture , the very fact that the Balkans were part of ...
Съдържание
| 1 | |
| 5 | |
| 27 | |
Part 2 Commitments Amid Strife | 87 |
Part 3 People | 173 |
Part 4 Spaces | 233 |
Bibliography | 283 |
Filmography | 300 |
Index | 318 |
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Albanian Aleksandar American Arkan audiences Balkan Balkan cinema Balkan countries Balkan film Balkan film-makers Belgrade Bernard-Henri Lévy Bosnia Bosnian war Bulgaria camp Chetnik civilisations claim context coverage critical Croat Croatian cultural depicted director discourse discussion documentary Dragojević Dušan Makavejev Eastern Europe Emir Kusturica ethnic European example experiences explored feminist Film Festival footage former Yugoslavia France Gaze Germany Goran Goran Paskaljević Greece Greek Gypsies Holocaust identity intellectuals interview Islamic issues Italy journalists journey killed Kosovo Kusturica lives look Macedonia Manchevski Marko migration moral movie Muslim narrative nationalist Ophuls Ottoman perpetrators political Pretty Flame Pretty Village propaganda protagonists rape realise region remains reports representations role Roma Romania Sarajevan Sarajevo scenes seen Serbian Serbs shot siege Srdjan story take sides talk Theo Angelopoulos Tito turbo-folk Ulysses Underground victims villains violence Vukovar West Western women writing York Yugoslav Zafranović Želimir Žilnik