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
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... critics could pick on these as well. While I agree that there are contexts in which these countries do not appear 'Balkan', there is a range of contexts in which they do, and in the concrete discussion of the first part of this book I ...
... critics could pick on these as well. While I agree that there are contexts in which these countries do not appear 'Balkan', there is a range of contexts in which they do, and in the concrete discussion of the first part of this book I ...
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... criticism, like Jean-Luc Godard with his Forever Mozart (1996). Still, most features came from the countries of the former Yugoslavia – Bosnia and Herzegovina (Savrseni krug/Perfect Circle, 1997), Serbia (Pretty Village, Pretty Flame) ...
... criticism, like Jean-Luc Godard with his Forever Mozart (1996). Still, most features came from the countries of the former Yugoslavia – Bosnia and Herzegovina (Savrseni krug/Perfect Circle, 1997), Serbia (Pretty Village, Pretty Flame) ...
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... critics in trade journals could not help noticing the proliferation of East European entries for the Oscar competition. Whereas before, Yugoslavia would submit only a single entry, now there were five countries in competition. Rump ...
... critics in trade journals could not help noticing the proliferation of East European entries for the Oscar competition. Whereas before, Yugoslavia would submit only a single entry, now there were five countries in competition. Rump ...
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... criticism of Neue Slovenische Kunst (NSK), 13 life in Bosnia after the war14 and, most recently, Kosovo-themed documentaries.15 The best-known documentary probably remains the international TV production Yugoslavia: Death of a Nation ...
... criticism of Neue Slovenische Kunst (NSK), 13 life in Bosnia after the war14 and, most recently, Kosovo-themed documentaries.15 The best-known documentary probably remains the international TV production Yugoslavia: Death of a Nation ...
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... critics. Film Studies The disintegration of what used to be 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 ...
... critics. Film Studies The disintegration of what used to be 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 ...
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