Cinema of Flames: Balkan Film, Culture and the MediaFirst 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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Page 24
In their replies , only about 15 per cent identified culturally with the Russian
tradition , while all the rest indicated they were mostly influenced by some West
European tradition , the German one gaining about 30 per cent . I asked myself
how I ...
In their replies , only about 15 per cent identified culturally with the Russian
tradition , while all the rest indicated they were mostly influenced by some West
European tradition , the German one gaining about 30 per cent . I asked myself
how I ...
Page 124
Leni Riefenstahl did not need to cross front lines – she was German , and so
were the Nazis ; she did not choose them , she just did not reject them . Kusturica
, on the contrary , travelled half way around the world to find a nurturing
atmosphere ...
Leni Riefenstahl did not need to cross front lines – she was German , and so
were the Nazis ; she did not choose them , she just did not reject them . Kusturica
, on the contrary , travelled half way around the world to find a nurturing
atmosphere ...
Page 232
The German film Gelem , Gelem ( 1991 ) follows a group of displaced Gypsies
travelling through Germany to the Dutch border where they hope to get asylum ,
only to witness them being thrown out once again . Two other German
productions ...
The German film Gelem , Gelem ( 1991 ) follows a group of displaced Gypsies
travelling through Germany to the Dutch border where they hope to get asylum ,
only to witness them being thrown out once again . Two other German
productions ...
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Contents
War in the Balkans Moving Images | 5 |
Are the Balkans Admissible? The Discourse | 29 |
Narrating the Balkans | 55 |
Copyright | |
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