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 63
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... Former Yugoslavia was the focus of news once again in 1998, 1999 and 2000, when the well-known visuals of the Bosnian war were recycled once more. TV stations scanned their archives for documentary footage of the notorious visit of ...
... Former Yugoslavia was the focus of news once again in 1998, 1999 and 2000, when the well-known visuals of the Bosnian war were recycled once more. TV stations scanned their archives for documentary footage of the notorious visit of ...
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... former Yugoslavia, but relates to a wider region in South-East Europe bordering on Asia Minor, the islands of the east Mediterranean and the Black Sea shores of the Caucasus – the lands travelled by such a quintessential Balkan author ...
... former Yugoslavia, but relates to a wider region in South-East Europe bordering on Asia Minor, the islands of the east Mediterranean and the Black Sea shores of the Caucasus – the lands travelled by such a quintessential Balkan author ...
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... former Yugoslavia has, no doubt, had serious repercussions on all the other Balkan countries. Many of the phenomena we witness in the former Yugoslavia – such as the malicious nationalist propaganda, the large-scale emigration or the ...
... former Yugoslavia has, no doubt, had serious repercussions on all the other Balkan countries. Many of the phenomena we witness in the former Yugoslavia – such as the malicious nationalist propaganda, the large-scale emigration or the ...
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... former Yugoslavia – Bosnia and Herzegovina (Savrseni krug/Perfect Circle, 1997), Serbia (Pretty Village, Pretty Flame), Croatia (Kako je poeeo rat na mom otoku/How the War Started on My Little Island, 1996) and Macedonia (Before the ...
... former Yugoslavia – Bosnia and Herzegovina (Savrseni krug/Perfect Circle, 1997), Serbia (Pretty Village, Pretty Flame), Croatia (Kako je poeeo rat na mom otoku/How the War Started on My Little Island, 1996) and Macedonia (Before the ...
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... 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 new technologies were widely used for ...
... 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 new technologies were widely used for ...
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