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 3
... cultures became my focal point of interest. And this is how this text came into being. I first became interested in the films made in response to the Balkan crisis in 1994. Only in the autumn of 1996, however, did I have the chance to ...
... cultures became my focal point of interest. And this is how this text came into being. I first became interested in the films made in response to the Balkan crisis in 1994. Only in the autumn of 1996, however, did I have the chance to ...
Page 4
... cultural representation of the Balkans, however, remains invariably important and controversial. And it is this subtle role that I hope to have captured and problematised in my work. Chapter 1 War in the Balkans – Moving Images This 4 ...
... cultural representation of the Balkans, however, remains invariably important and controversial. And it is this subtle role that I hope to have captured and problematised in my work. Chapter 1 War in the Balkans – Moving Images This 4 ...
Page 5
... cultural image-making as it unravels within the wider context of communicated concepts and interpretations. Second, because in today's world of electronic media, images reach out wider than writings, a fact which is still rarely ...
... cultural image-making as it unravels within the wider context of communicated concepts and interpretations. Second, because in today's world of electronic media, images reach out wider than writings, a fact which is still rarely ...
Page 6
... cultural causality is a crucial area on which to focus, because it has more to do with the construction of marginality via selectively mediated images than nationalist discourse does (this last one I see as a derivative of the 'Balkans ...
... cultural causality is a crucial area on which to focus, because it has more to do with the construction of marginality via selectively mediated images than nationalist discourse does (this last one I see as a derivative of the 'Balkans ...
Page 7
... cultural legacy and modern-day trends. Although the concept of the 'Ottoman legacy' is far too often abused by journalists to explain every manifestation of lesser political culthe very fact that the Balkans were part of the Ottoman ...
... cultural legacy and modern-day trends. Although the concept of the 'Ottoman legacy' is far too often abused by journalists to explain every manifestation of lesser political culthe very fact that the Balkans were part of the Ottoman ...
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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