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
... Discourse on Europe Chapter 3: Narrating the Balkans Chapter 4: Narrative and Putative History 29 55 71 89 Part 2 – Commitments Amid Strife Chapter 5: Balkan Film and History: The Politics of Historical Collage Chapter 6: Kusturica's ...
... Discourse on Europe Chapter 3: Narrating the Balkans Chapter 4: Narrative and Putative History 29 55 71 89 Part 2 – Commitments Amid Strife Chapter 5: Balkan Film and History: The Politics of Historical Collage Chapter 6: Kusturica's ...
Page 5
... discourse formation at any level and because the informative power of transmitted images is at least as influential as the exchange that takes place in spoken and written language. Unlike the written word, however, the role of mediated ...
... discourse formation at any level and because the informative power of transmitted images is at least as influential as the exchange that takes place in spoken and written language. Unlike the written word, however, the role of mediated ...
Page 6
... discourse does (this last one I see as a derivative of the 'Balkans as a socio-cultural periphery'motif). Key. Concepts. Specific features of my approach throughout the text involve the way I look at the concept of 'Balkans' and at the ...
... discourse does (this last one I see as a derivative of the 'Balkans as a socio-cultural periphery'motif). Key. Concepts. Specific features of my approach throughout the text involve the way I look at the concept of 'Balkans' and at the ...
Page 9
... 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', 'ethno-linguistic tapestry' and 'dormant ...
... 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', 'ethno-linguistic tapestry' and 'dormant ...
Page 17
... discourse as the written texts, my writing evolved in a context largely informed by scholarship and popular writing. (I give a detailed account on the various works that informed my writing in the Bibliography.) My material were the ...
... discourse as the written texts, my writing evolved in a context largely informed by scholarship and popular writing. (I give a detailed account on the various works that informed my writing in the Bibliography.) My material were the ...
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