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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... region that I left behind looks like a place full of disorderly people overtaken by the petty concerns of the poor and resentful of expatriates like myself for deserting the misery which they face on a daily basis. For a while, I used ...
... region that I left behind looks like a place full of disorderly people overtaken by the petty concerns of the poor and resentful of expatriates like myself for deserting the misery which they face on a daily basis. For a while, I used ...
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... region received through the medium of film. My study is not just an account of the film-making effort that came into being as a response to the Balkan crisis. Rather, it is an attempt to show how film registered the dynamic interplay of ...
... region received through the medium of film. My study is not just an account of the film-making effort that came into being as a response to the Balkan crisis. Rather, it is an attempt to show how film registered the dynamic interplay of ...
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... region fuzzy and flexible. My concept of the Balkans is not identical with the 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 ...
... region fuzzy and flexible. My concept of the Balkans is not identical with the 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 ...
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... region, the hostility to Islam and the numerous territorial claims which most often can be traced back to political decisions taken in response to the dissolution of the Ottoman monolith. The legacies of communism, shared by many of the ...
... region, the hostility to Islam and the numerous territorial claims which most often can be traced back to political decisions taken in response to the dissolution of the Ottoman monolith. The legacies of communism, shared by many of the ...
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... region). Or the readily articulated differences in language, religion, history and foreign orientation. The failure to acknowledge shared traits and the lack of interaction results in unproductive isolation from each other. It is a ...
... region). Or the readily articulated differences in language, religion, history and foreign orientation. The failure to acknowledge shared traits and the lack of interaction results in unproductive isolation from each other. It is a ...
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