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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Page 6
... approach throughout the text involve the way I look at the concept of 'Balkans' and at the issues of transition and context. Balkans In my approach I retain 'the Balkans' as a common denominator when referring to this diverse and ...
... approach throughout the text involve the way I look at the concept of 'Balkans' and at the issues of transition and context. Balkans In my approach I retain 'the Balkans' as a common denominator when referring to this diverse and ...
Page 9
... approach. The journalistic and diplomatic discourse on the Balkans more and more often referred to the juxtaposition of Ottoman and Austro-Hungarian legacies, and was largely built up on concepts such as the 'clash of civilisations ...
... approach. The journalistic and diplomatic discourse on the Balkans more and more often referred to the juxtaposition of Ottoman and Austro-Hungarian legacies, and was largely built up on concepts such as the 'clash of civilisations ...
Page 15
... approach or the target audiences of the distributor, various films received visibility through various channels. Miss Sarajevo (1995), for example, made by a U2 fan, Bill Carter, became well known to Billboard and MTV fans, whereas ...
... approach or the target audiences of the distributor, various films received visibility through various channels. Miss Sarajevo (1995), for example, made by a U2 fan, Bill Carter, became well known to Billboard and MTV fans, whereas ...
Page 17
... approach, to reach out and bring into the discussion of the Balkan realm the orientalist and the post-colonial theories that were first created for the discursive needs of other marginalised but non-Slavic and non-European cultures, and ...
... approach, to reach out and bring into the discussion of the Balkan realm the orientalist and the post-colonial theories that were first created for the discursive needs of other marginalised but non-Slavic and non-European cultures, and ...
Page 19
... approach the cinema of 'Eastern Europe' as an entity. The next logical step is to regroup the cinemas of the region to reflect newer geopolitical realities. As more and more thematic and stylistic affinities will be rediscovered ...
... approach the cinema of 'Eastern Europe' as an entity. The next logical step is to regroup the cinemas of the region to reflect newer geopolitical realities. As more and more thematic and stylistic affinities will be rediscovered ...
Contents
1 | |
5 | |
27 | |
Part 2 Commitments Amid Strife | 87 |
Part 3 People | 173 |
Part 4 Spaces | 233 |
Bibliography | 283 |
Filmography | 300 |
Index | 318 |
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Common terms and phrases
Albanian American appear approach audiences Balkan become Belgrade believed Bosnia Bulgaria called camp cinema claim concerns context continue countries critical Croatian cultural death depicted director discourse discussion documentary Eastern ethnic Europe European example experiences explored face fact feel Festival film film-makers footage former France Germany Greek Gypsies identity important intellectuals interest involved issues Italy journalists killed Kusturica leave lives look Macedonia minority moral move Muslim narrative nationalist never once past played political present Press Pretty production protagonists question rape region remains reports representations represented role Roma Sarajevo scenes seems seen Serbian Serbs shown sides story talk tells turned Underground University victims Village violence West Western women writing York young Yugoslav Yugoslavia