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Vanja Kulaš, Doktorski Rad 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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