Cinema of Flames: Balkan Film, Culture and the MediaBritish Film Institute, 2001 - 322 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) |
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Page 90
... strong presence in Balkan cinema . Such personal films allow the director to problematise and criti- cally examine the complex relationship between individual experience and national fate , and tackle a whole sphere of issues that ...
... strong presence in Balkan cinema . Such personal films allow the director to problematise and criti- cally examine the complex relationship between individual experience and national fate , and tackle a whole sphere of issues that ...
Page 251
... strong feelings for Sarajevo ( they came later , he claimed ) but because he needed the money , because he wanted to try work- ing with director Winterbottom and because he liked The Killing Fields ( 1994 ) . He did not know much about ...
... strong feelings for Sarajevo ( they came later , he claimed ) but because he needed the money , because he wanted to try work- ing with director Winterbottom and because he liked The Killing Fields ( 1994 ) . He did not know much about ...
Page 252
... strong that they refuse to leave him . Like other films , this one also uses the image of the crowded cemetery – in fact , it begins and ends there . It focuses more on emotion than other films and was described by critics as exhibiting ...
... strong that they refuse to leave him . Like other films , this one also uses the image of the crowded cemetery – in fact , it begins and ends there . It focuses more on emotion than other films and was described by critics as exhibiting ...
Contents
War in the Balkans Moving Images | 5 |
Are the Balkans Admissible? The Discourse | 29 |
Narrating the Balkans | 55 |
Copyright | |
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