Cinema of Flames: Balkan Film, Culture and the MediaBloomsbury Publishing, 2019 M07 25 - 320 pages 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) |
From inside the book
Results 1-5 of 44
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... called home-videos, shot on the spot in former Yugoslavia and then distributed via clandestine channels to the relevant diasporas across the world. In addition to film, there has been intensive activity in the field of multimedia, and ...
... called home-videos, shot on the spot in former Yugoslavia and then distributed via clandestine channels to the relevant diasporas across the world. In addition to film, there has been intensive activity in the field of multimedia, and ...
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... called 'No More War'. Ironically, this scheduling was a bit rushed – only a few films had appeared by that time, and the end of the war was nowhere near in sight. The programme included a few documentaries by German and French film ...
... called 'No More War'. Ironically, this scheduling was a bit rushed – only a few films had appeared by that time, and the end of the war was nowhere near in sight. The programme included a few documentaries by German and French film ...
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... called 'Sarajevo Film Days' was organised in Zagreb. Sarajevans themselves were quite active in scheduling film events and there were several organised during the siege by courageous groups and individuals. The Sarajevo International ...
... called 'Sarajevo Film Days' was organised in Zagreb. Sarajevans themselves were quite active in scheduling film events and there were several organised during the siege by courageous groups and individuals. The Sarajevo International ...
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... called Central Eastern Europe were equally self-absorbed. Most of the influential scholarly work on Eastern Europe was preoccupied with the formation of the concept of Central Europe, a notion the very development of which was based on ...
... called Central Eastern Europe were equally self-absorbed. Most of the influential scholarly work on Eastern Europe was preoccupied with the formation of the concept of Central Europe, a notion the very development of which was based on ...
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... called the Eastern bloc into the new geopolitical spheres of Central Eastern Europe and the Balkans rendered further research on East European cinema as an entity meaningless, and 'the cinema of Eastern Europe', explored by authors such ...
... called the Eastern bloc into the new geopolitical spheres of Central Eastern Europe and the Balkans rendered further research on East European cinema as an entity meaningless, and 'the cinema of Eastern Europe', explored by authors such ...
Contents
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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Common terms and phrases
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