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Sveu čilište u Zagrebu FILOZOFSKI FAKULTET Vanja Kulaš Borovina NOVI SOCIJALNI REALIZAM U FRANCUSKOJ I BELGIJSKOJ KINEMATOGRAFIJI DOKTORSKI RAD Mentor: dr. sc. Nikica Gili ć, izv. prof. Zagreb, 2017. 1 University of Zagreb FACULTY OF HUMANITIES AND SOCIAL SCIENCES Vanja Kulaš Borovina NEW SOCIAL REALISM IN FRENCH AND BELGIAN CINEMA DOCTORAL THESIS Supervisor: Nikica Gili ć, Ph.D., Associate Professor Zagreb, 2017 2 PODACI O MENTORU Nikica Gili ć rođen je 1973. u Splitu, gdje je završio srednju školu. Upisao je studij komparativne književnosti i engleskog jezika i književnosti na Filozofskom fakultetu u Zagrebu 1992. Diplomirao je 1997., upisavši potom poslijediplomski studij književnosti, a od 1998. radi na Odsjeku za komparativnu književnost. Magistrirao je 2003. temom “Filmološki aspekti naratologije”, a doktorirao 2005. s temom “Filmska genologija i tipologija filmskog izlaganja” (u oba rada mentor mu je bio profesor Ante Peterli ć). Uz filmsku genologiju, filmsku naraciju i fenomen postmoderne zanima se i za probleme specifi čne za filmski medij, zagovaraju ći temeljnu emancipiranost filmologije od rekurzivnih mehani čkih transpozicija metoda književne teorije, sociologije kulture i drugih disciplina. Predaje kolegije iz teorije i povijesti filma na Odsjeku za komparativnu književnost i na Akademiji dramske umjetnosti. Sudjelovao je na više me đunarodnih simpozija (u Splitu, Zagrebu, Zadru, Szegedu, Berlinu, Grazu, Temišvaru, Parizu, Washingtonu, Beogradu i Be ču), kao i na doma ćim simpozijima (u Zagrebu i Rovinju). Održao je gostuju ća predavanja na Humboldtovom sveu čilištu u Berlinu i sveu čilištima u Regensburgu i Konstanzu (Njema čka), potom u Grazu (Austrija) te na Sveu čilištu T. Masaryka u Brnu ( Češka). Glavni je urednik Hrvatskog filmskog ljetopisa, član savjeta časopisa Ubiq i Autsajderski fragmenti te član Vije ća Animafesta i Vije ća Hrvatskog društva filmskih kriti čara. Bio je umjetni čki savjetnik za dokumentarni film pri HAVC-u i član žirija više filmskih festivala i revija (npr. Pula, Dani hrvatskog filma). Godine 2015. postao je pridruženi istraživa č na Doktorskoj školi za Isto čnu i Jugoisto čnu Europu Sveu čilišta u Regensburgu i Sveu čilišta Ludwig-Maximilans u Münchenu. Izbor iz bibliografije Autorske knjige Uvod u povijest hrvatskog igranog filma , 2010, Zagreb, Leykam International (drugo izdanje: 2011). Uvod u teoriju filmske pri če, 2007, Zagreb, Školska knjiga. 3 Filmske vrste i rodovi , 2007 Zagreb, AGM; internetsko izdanje 2013: http://www.elektronickeknjige.com/gilic_nikica/filmske_vrste_i_rodovi/index.htm Uredni čke knjige Partisans in Yugoslavia. Literature, Film and Visual Culture , 2015, ur. M. Jakiša i N. Gili ć, Bielefeld, transcript. 60 godina festivala igranoga filma u Puli i hrvatski film , 2013, ur. N. Gili ć i Z. Vida čkovi ć, Zagreb, Matica hrvatska 3-2-1, KRENI! Zbornik radova u povodu 70. ro đendana Ante Peterli ća, 2006, ur. N. Gili ć, Zagreb, Odsjek za komparativnu književnost i FF Press, Filozofski fakultet. Filmski leksikon , 2003, ur. Bruno Kragi ć, Nikica Gili ć, Zagreb, LZ “Miroslav Krleža”. Znanstveni i stru čni radovi (izbor) "Dangdai dianying: Donghua dianying deSagelebu xuepai: jiti zhuyi yujing zhong de geti shi xingzhanfang", GuoChunning(trans), Contemporary Cinema, 2016 (11), str. 195-197. "Narrative and Genre Influences of the Classical Narrative Cinema in the Partisan Films of Živorad-Žika Mitrovi ć", Partisans in Yugoslavia. Literature, Film and Visual Culture , ur. M. Jakiša i N. Gili ć, Bielefeld: transcript, 2015, str. 227-244. "„New Croatian Cinema. Literature and Genre in the Post-Yugoslav Era", Small Cinemas in Global Markets. Genres, Identities, Narratives , ur. Lenuta Giukin, Janina Falkowska, David Desser, Lanham, Boulder, London, New York: Lexington, 2015, str. 151-–170. „Rane 1970-e i filmski slu čaj Tomislava Radi ća“, u Pozna ńskie studie slawistyczne , Numer 6, 2014, str. 91 – 104. Pozna ń (skra ćena i prera đena verzija objavljena u knjizi Otpor. Zbornik radova 42. seminara Zagreba čke slavisti čke škole , ur. T. Piškovi ć i T. Vukovi ć, Zagreb, 2014). „Promjene u prikazu rata u novijem hrvatskom igranom filmu – stil, umjetnost, ideologija“, u Facing the Present: Transition in Post-Yugoslavia, Grazer Studien zur Slawistik, Band 6 , ur. Renate Hansen-Kokoruš, Verlag Dr. Kova č, Hamburg, 2014, str. 11 – 32. “Oficir s ružom i Najbolji Dejana Šorka – dvije vojni čke naracije”, u 60 godina festivala igranoga filma u Puli i hrvatski film , ur. N. Gili ć i Z. Vida čkovi ć, Matica hrvatska, Zagreb 2013, str. 117 – 132. „Televizijska obrada Krležine poetika – Tomo Bakran Ive Štivi čića i Eduarda Gali ća“, u Komparativna povijest hrvatske književnosti. Zbornik radova XV. (Ne)pro čitani Krleža: od bteksta do popularne predodžbe , ur. C. Pavlovi ć, V. Glun čić-Bužan čić i A. Meyer-Fraatz, 4 Književni krug Split, Odsjek za komparativnu književnost Filozofskog fakulteta u Zagrebu; Split, Zagreb, 2013, str. 362 – 372. „O žanrovskom i umjetni čkom filmu u genološkoj koncepciji Hrvoja Turkovi ća“, u Hrvatski filmski ljetopis , 2013 (XIX), br. 73-74, str. 27 – 34. “Film Živi i mrtvi Kristijana Mili ća – poteško će “zauzimanja strana” u ratu u Bosni i Hercegovini (te u okolnim državama)”, KINO !, 2012 (V), br. 17/18., str. 146-156 i 359. Ljubljana. “Elementi romantizma Sna doktora Miši ća kao poticaj televizijskom romantizmu 1970- ih”, Komparativna povijest hrvatske književnosti, zbornik radova XIV. Romantizam – ilirizam – preporod , ur. C. Pavlovi ć, V. Glun čić-Bužan čić, A. Meyer-Fraatz,Književni krug, Odsjek za komparativnu književnost Filozofskog fakulteta u Zagrebu, Split, Zagreb, 2012, str. 329- 344. „Crveni i zeleni kadar – Čaruga Rajka Grli ća (i Ivana Kušana) kao slika epohe“, Komparativna povijest hrvatske književnosti, zbornik radova XIII. Poetika i politika kulture nakon 1910. godine , ur. C. Pavlovi ć, V. Glun čić-Bužan čić, A. Meyer- Fraatz,Književni krug, Odsjek za komparativnu književnost Filozofskog fakulteta u Zagrebu Split, Zagreb, 2011, str. 371-380. „Filmski medij“, u Uvod u medije , ur. Zrinjka Peruško, Zagreb, Hrvatsko sociološko društvo/Jesenski i Turk, 2011. Str. 87-108. „Zašto Surogatov Oscar nije važan?“, Surogat stvarnosti. Pedeset godina hrvatske animacije , ur. M. Kiš i K. Pudar, HDLU, Zagreb, 2011. Str. 32-37. “Revolution, cinema, painting: creative recycling of images in the films of Tom Gotovac (Antonio Lauer)”, Studies in Eastern European Cinema , 2010 (I), br. 1, str. 71-84. Birmingham. (http://www.atypon-link.com/INT/toc/seec/1/1) “ Ne okre ći se sine Branka Bauera: stil i ideologija ratne (partizanske) melodrame”, KINO! , 2010 (III), br. 10., str. 82-91, 327-8. Ljubljana. “Tragovi modernizma 1960-ih u novijem hrvatskom igranom filmu”, u: Komparativna povijest hrvatske književnosti, Zbornik radova XII, Istodobnost raznodobnog. Tekst i povijesni ritmovi , ur. C . Pavlovi ć, V. Glun čić-Bužan čić i A. Meyer-Fraatz, Split – Zagreb, Književni krug i Odsjek za komparativnu književnost Filozofskog fakulteta u Zagrebu, 2010., str. 420- 429. “Znanstvena fantastika izme đu slova i slike (o nekim problemima žanrovskog stvaralaštva u književnosti i filmu)”, Književna smotra , 2009 (XLI), br. 154 (4), str. 25-32. “Figure slobode: Drži ć i Dubrovnik (povodom Bulaji ćevog Libertasa )”, u: Komparativna povijest hrvatske književnosti, Zbornik radova XI , Drži ć danas. Epoha i naslije đe , ur. C. Pavlovi ć, V. Glun čić-Bužan čić, Split, Književni krug, 2009, str. 407-418. 5 “Modernizam i autorski film 1960-ih u Hrvatskoj”, u: Prostor u jeziku / Književnost i kultura šezdesetih , ur. T. Bogdan et al. Zagreb, Zagreba čka slavisti čka škola, 2009, str. 121-126. “Novija recepcija hrvatskog igranog filma 1950-ih – slu čaj filma H-8... Nikole Tanhofera”, u: Komparativna povijest hrvatske književnosti, Zbornik radova X , Smjerovi i metodologije komparativnog prou čavanja hrvatske književnosti , ur. C. Pavlovi ć, V. Glun čić-Bužan čić, Split, Književni krug, 2008, str. 122-134. “Film kao poezija: Do posljednjeg daha ”, u: Poslanje filologa , ur. C. Pavlovi ć i T. Bogdan, Zagreb, FF Press – Filozofski fakultet, 2008. “Filmska fantastika i znanstvena fantastika u kontekstu teorije žanra”, Ubiq , 2 (I), Zagreb, 2008, str. 200-213. “Klasifikacijski dodiri književne i filmske teorije: kratki uvod”, Književna smotra , 2007 (XXXIX), br. 143, str. 3-10. “Iluzija stvarnosti: Godišnja doba Petra Krelje kao grani čni film”, Hrvatski filmski ljetopis , 2006 (XII), br. 48, str. 48-55, 197. ”O konstrukciji i čitanju zvijezda”, Književna smotra , br. 139, 2006, str. 59-69. “Filmska fikcionalnost i problem klasifikacije”, Umjetnost rije či 3/4, 2005 (XLIX), str. 229- 242. “Predratna psihoza: slike tridesetih u Izbavitelju Krste Papi ća”, u: Komparativna povijest hrvatske književnosti, Zbornik radova VII , Hrvatska književnost tridesetih godina 20. stolje ća , ur. C. Pavlovi ć, V. Glun čić-Bužan čić, Split, Književni krug, 2005. “Film Goli čovjek Obrada Gluš čevi ća kao marinkovi ćevski teatar”, u: Komparativna povijest hrvatske književnosti, Zbornik radova VI, Europski obzori Marinkovi ćeva opusa , ur. M. Tomasovi ć, V. Glun čić-Bužan čić, Split, Književni krug, 2004. “Naratologija i filmska pri ča”, Hrvatski filmski ljetopis , X (2004), br. 37. “Filmološki formalizam i velike teorije (Prilog polemici o kulturalnim studijima)”, Hrvatski filmski ljetopis , IX (2003), br. 35. “‘Kameni horizonti' – model socrealisti čke prezentacije i hrvatska kultura pedesetih”, u: Komparativna povijest hrvatske književnosti, Zbornik radova V, Krugovi i hrvatska književnost pedesetih
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    BOLETÍN DE SUMARIOS Esta nueva entrega del Boletín de Sumarios recoge 174 nuevos números, correspondientes a 62 títulos distintos, recibidos en la Biblioteca durante los meses de octubre, noviembre y diciembre de 2013. Ordenados alfabéticamente, los títulos van seguidos de los números recibidos que, mediante enlaces, permiten acceder a los sumarios correspondientes. Si desea consultar alguna de estas revistas, puede hacerlo en la Sala de Lectura de la Biblioteca de Cultura. La mayoría de ellas se encuentra también en la Biblioteca Nacional. Si usted se encuentra fuera de Madrid, puede dirigirse a la Red de Bibliotecas de su Comunidad. Confiamos en que la información que ofrecen estos boletines sea de utilidad y rogamos remitan cualquier sugerencia sobre este servicio al buzón [email protected] Secretaría General Técnica Subdirección General de Documentación y Publicaciones Ábaco: Revista de Cultura y Ciencias Sociales. Vol. 75: núm. 1 (2013) ADE Teatro. Núms. 147, 148 (2013) Anales del Museo de América. Vol. XIX (2011) Arquitectura viva. Núm. 156 (2013) Arte y Parte. Núms. 103, 104, 105. 106, 107, 108 (2013) BBF: Bulletin des Bibliothèques de France. Núms. 5, 6 (2013) BJC: Boletín de Jurisprudencia Constitucional. Núm. 377 (2013) Boletín de la Institución Libre de Enseñanza. Núms. 89-90, 91-92 (2013) Clarín: Revista de Nueva Literatura. Núms. 103, 104, 105, 106, 107, 108 (2013) Claves de razón práctica. Núms. 226, 227, 228, 229, 230, 231 (2013) CLIJ: Cuadernos de Literat. Infantil y Juvenil. Núms. 251, 252, 253, 254, 255, 256 (2013) Croquis, El. Núms. 165, 166, 167, 168-169 (2013) Cuadernos Hispanoamericanos. Núms. 760, 761, 762 (2013) Cultural Trends.
  • XXXI CICOM Timedoc Conference School Of

    XXXI CICOM Timedoc Conference School Of

    XXXI CICOM TiMeDoc Conference Time and Memory in Non-fiction Cinema School of Communication. Universidad de Navarra KEYNOTE/PAPERS PRESENTED (listed by author) Aasman, Susan (University of Groningen, Netherlands) More Me than ever! A historical reflection on the autobiographical documentary mode as do-it yourself. Blos-Jáni, Melinda (Sapientia University, Romania) Unreliable images? Engaging with the past through archival images in East-European documentaries about communism. Brasiskis, Lukas (New York University, USA) Cinematic (Re)Turn to Documentary Archives: New Historicity(-ies) in Post-Socialist Found Footage Films. Bruzzi, Stella (University of Warwick,UK) On Trial: Testimony, Witnessing and the Temporalities of Enactment in Real Crime Documentary Series. Caoduro, Elena (University of Bedfordshire, UK) Remembering the Years of Lead: Left-wing Terrorism in German and Italian non-fiction Cinema. Catalá, Josep M. (Universitat Autónoma de Barcelona, Spain) Figures of (Collective) Memory: Documentary Films as Memory Palaces. Crawford-Holland, Sasha (McGill University, Canada) The Corporeal Politics of Documentary Reenactment: Bodily Memory in The Act of Killing. Cuevas, Efrén (Universidad de Navarra, Spain) Autobiographical narratives of transnational families: the case of I for India Fernández, Ana Aitana (Universitat Pompeu Fabra, Spain) The traces of remembrance as a way of (re)constructing the memory of what has not been lived. Fibla, Enrique (Concordia University, Canada) The Amateur Archive: explorations on collective memory through nonprofessional film. Formenti, Cristina (Università degli Studi di Milano, Italy) Non-fictional Animated Memoirs and Their Reference Model. Gaines, Jane (Columbia University, USA) Documentary Activism and Historical Time. Hawley, Steve (Manchester Metropolitan University, UK) Epistle from a distant war: rare sync sound films of WW2 soldiers speaking rediscovered.
  • Book Reviews – June 2011

    Book Reviews – June 2011

    Scope: An Online Journal of Film and Television Studies Issue 20 June 2011 Book Reviews – June 2011 Screening Sex by Linda Williams A Review by Caroline Walters ................................................................. 4 What Moroccan Cinema? A Historical and Critical Study, 1956-2006 by Sandra Gayle Carter A Review by Monika Raesch ................................................................... 7 Hollywood Independents: The Postwar Talent Takeover by Denise Mann 100 American Independent Films, 2nd edition by Jason Wood The Contemporary Hollywood Reader edited by Toby Miller A Review by Gareth James .................................................................. 13 Documentary Display: Re-Viewing Nonfiction Film and Video by Keith Beattie A Review by Jeffrey Gutierrez .............................................................. 20 Mabel Cheung Yuen-Ting's An Autumn's Tale by Stacilee Ford John Woo's The Killer by Kenneth E. Hall A Review by Lin Feng .......................................................................... 23 Film Festival Yearbook 1: The Festival Circuit edited by Dina Iordanova with Ragan Rhyne Dekalog 3: On Film Festivals edited by Richard Porton A Review by Linda Hutcheson............................................................... 29 1 Book Reviews Responses to Oliver Stone's Alexander: Film, History, and Cultural Studies edited by Paul Cartledge and Fiona Rose Greenland Screening Nostalgia: Populuxe Props and Technicolor Aesthetics in Contemporary American Film by Christine Sprengler A Review