DOCSLIB.ORG

Representation of the Holocaust in the Balkans in Arts and Media

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Representation of the Holocaust in the Balkans in Arts and Media *m otif from M iloš Bajić’s draw ing People Num bers Representation of the Holocaust in the Balkans in Arts and Media Nevena Daković (Ed.) Representation of the Holocaust in the Balkans in Arts and Media Conference Proceedings Representation of the Holocaust in the Balkans in Arts and Media Dom omladine Beograda, 2-3 October 2014 Editor Prof. Nevena Daković, PhD Faculty of Dramatic Arts, University of Arts, Belgrade Reviewers Nadège Ragaru, PhD NRS researcher at Sciences Po CERI, Paris Prof. Mišel Pavlovski, PhD Saints Cyril and Methodius University of Skopje Prof. Mirjana Nikolić, PhD Faculty of Dramatic Arts, University of Arts, Belgrade Conference Proceedings Representation of the Holocaust in the Balkans in Arts and Media is a part of the project supported by International Holocaust Remembrance Alliance and Ministry of Culture and Information of the Republic of Serbia. Partners on the project are: Diskurs (Belgrade), Center for Culture and Cultural Studies (Skopje), Faculty of Dramatic Arts (Belgrade), Belgrade Youth Center (Dom omladine Beograda), and the Shoah Memorial (Paris). Conference Proceedings Representation of the Holocaust in the Balkans in Arts and Media Editor Prof. Nevena Daković, PhD Diskurs Faculty of Dramatic Arts - Institute for Theatre, Film, Radio and Television Belgrade, 2014 PREFACE t is our pleasure that Diskurs initiated the Project Representation of the Holocaust in the Balkans in Arts and Media followed by this Conference Proceedings, especially having in Imind relatively small number of media and artistic texts on this issue. The Conference Proceedings consist of fourteen selected scientific papers on various topics. The Conference Representation of the Holocaust in the Balkans in Arts and Media represents an attempt of mapping the corpus of different arts and media texts, their systematisation as well as recognition of its function in constructing a multidirectional memory of the Balkans’ past. Thus, this topic obtrudes as socially important and demands the new insight. The ultimate objective of the Project is to create an insight on the role of protecting the institution of the memory in modern states at the Balkans, by providing the support to production of contemporary, and nevertheless by preserving and systematising the existing media texts on the Holocaust on the Balkans. Nourishing and affirmation of the Cultural Memory, directly via media texts present also an important step for keeping up the tolerance and stability in the region. Without financial support of the International Holocaust Remembrance Alliance and Ministry of Culture and Information of the Republic of Serbia we would not, for certain, be able to publish this Conference Proceedings including fourteen selected papers, out of more than forty assorted papers. We would like to seize this opportunity and thank for the partnership and cooperation to the Faculty of Dramatic Arts from Belgrade, Centre for Culture and Cultural Studies from Skopje, Belgrade Youth Centre (Dom omladine Beograda) and The Shoah Memorial Paris, for putting the Conference on with such important topic, to deserved position on the social and cultural map of Serbia and the region. Hoping that this Conference Proceedings will successfully manage to offer new insights, topics and discussions and bring new cognition and perspective of our joint past, and that the Holocaust shall never happen again and won’t be forgotten at the same time. Diskurs Contents Contents Nevena Daković (IM)POSSIBLE WITNESS: THE REVELATION OF THE HIMMELCOMMANDO 1 Gergana Doncheva THE MODEST PRESENCE OF THE HOLOCAUST AND JEWISH PEOPLE IN BULGARIAN CINEMA: FACTS AND REASONS 9 Mishel Pavlovski Loreta Georgievska Jakovleva Holocaust SITES OF REMEMBRANCE IN Macedonia: How DO WE LEARN ABOUT THE Holocaust, OR What SHOULD BE REMEMBERED TO PREVENT IT FROM HAP- PENING again 19 Milena Dragićević Šešić Ljiljana Rogač Mijatović FROM THE Contested PAST TO THE Neglected PRESENT: THE Cultural PoLitics of MeMoRy of BeLgRaDe’s staRo sajMiŠte (the oLD faiRgRouND) 35 Mirjana Nikolić THE ART OF RADIO DRAMA AS A REPRESENTATION OF THE HOLOCAUST: SEARCHING IN ASHES, RADIO BEOGRAD (1985) 49 I Contents Dragana stojanović Vera Mevorah Portraits AND Memories OF THE JEWISH Community IN SERBIA BEFORE THE Holocaust: FACING THE INSCRIPTION of THE Holocaust IN THE POSTMEMORY MEDIA REPRESENTATION CONTEXts 54 aleksandra Milovanović Images OF JASENOVAC: RethinKING USE of ARCHIVE footage AND VOICE OVER NARRATION IN Documentary FILMS 68 Boris Petrović THE Anthropological AND Ideological READING of Holocaust IN “HRANJENIk” (THE FED ONE) 80 Zlatko Popovski THE Holocaust AND THE Cultural Memory: THE ROLE of THE MEDIA AND THE Arts IN THE Holocaust PROFILING 89 Nataša Delač ReMeMBeRiNg the Novi saD RaiD: fiLM “the MoNuMeNt” By MiRosLav aNtić REMEMBRANCE OF THE Novi SAD RAID 96 Lazar jovanović Representation of THE Holocaust IN COMICS AND GRAPHIC Novels 103 II Contents Biljana Mitrović Places OF SUFFERING, SITES OF Memory AND Digital MEDIA 114 tijana Lukić REINTERPRETATION OF THE PAST IN THE DIGITAL MEDIA staRo sajMiŠte iN the New MeDia sPace aND the RoLe of Music iN the RECONSTRUCTION of COLLECTIVE memory 123 Paul Bernard-Nauraud AUSCHWITZ AND ITS “After-Images” AN Approach to THE Visual Arts AND Art History 129 III Nevena Daković, PhD1 Faculty of Dramatic Arts, University of Arts, Belgrade Serbia (IM)POSSIBLE WITNESS: THE REVELATION OF THE HIMMELCOMMANDO2 “ils n`avaient pas figure humaine. c`étaient des visages ravagés, fous”, ont dit les détenus qui ont pu les voir. a une détenue qui lui demandait comment il pouvait supporter pareil travail, un membre de l’équipe répondit : “Évidemment, je pourrais me jeter sur les fils électriques, comme tant de mes camarades, mais je veux vivre [...]. Dans notre travail, si on ne devient pas fou le premier jour, on s’habitue.” (...) Façon de parler. certains se jetèrent simplement dans le feu, qui croyaient pourtant être habitués (Didi-Huberman 2003: 13) araphrasing Theodor Adorno, Serge Daney (1992) in his master essay claims that after Alain Resnais and his Nuit et Brouillard (1955) there could be and "Pthere is no fiction about the Holocaust. The idea of this paper is to chal- lenge Daney and, at the same time, rescue from undeserved oblivion old ex-Yugoslav film Himmelkommando/Nebeski odred/Celestial Squad/The Sky Battalion. I would like to argue that this film text represents the very possible fiction of Holocaust in the post prohibition, post 1956 era. Made in 1961 this remarkable artwork cleverly moved the limits of repre- sentation of Holocaust. Being no real fiction, even less Daney`s rejected image of the post aesthetic it becomes much sought after permitted representational form and format. Its semi or half documentary structure of rich metaphorical value responds to “Within cinema the modern obligation to pronounce the stop on the image and the embargo on fiction. The aim was to tell another story differently where mankind was the only character and the first anti-star. The aim was to give birth to another cinema ‘which would know’ that to give the event back to the fiction too early is to remove its uniqueness, because fiction is that 1 [email protected] 2 This paper has been created as part of the project Identity and memory: transcultural texts of Dramatic Arts and Media, executed at the Faculty of Dramatic Arts in Belgrade (project no. 178012). 1 (IM)POS- SIBLE WIT- NESS: THE REVELA- TION OF freedom which disperses and which opens itself in advance to the infinity of the variation THE HIM- and to the seduction of the true lies.” (Daney 1992). The arguments for the exceptional status of Himmelkommando marking the conceptual MELCOM- shift from prohibition and taboo to permission and responsibility are threefold: MANDO • The narrative features the autobiography and auto fiction furnish and guarantee the documentarism and authenticity of the depicted experience, • Thefigure of the witness survivor - who according to Levy is not and could never be the true one) - is transformed into true witness-homodiegetic narrator dying at first and then be resurrected and surviving, • The film`s hybrid style of symbolism, expressionism and realism coalesce into hyperrealism and the modernist text that structurally repeats the traumatic experience of the witnessing (Hirsch 2004). From text to theatre, from theatre to film The film Himmelkommando is made after brilliant, nowadays classic drama of Đorđe Lebović and Aleksandar Obrenovic, above all recognised as the textual re-enactment of Lebovic`s per- sonal traumatic survival of Auschwitz. „The world of the survivors who levitate as shadows between life and death, terror and freedom, long physical recovery and prolonged psychological trauma” becomes the „initial point of his drama“ (Klaić, 2007) presented with the uncanny calm of someone being both the witness and the victim. Through the text the author relives the tragic chronicle of life and the thoughts of the living dead, of those (who) sentenced (themselves) to suicide in the world between life and death, being dispossessed of everything but the instinct for survival (Agamben 2006: 140). Slobodan Selenić sees drama as the demarcation line in the history of the modern Serbian drama emphasising its stylistic hybridism and autobiographical (possible auto-fictional) aspect. The text contains „data of most certain authenticity, deeply lived through scenes filtered through author`s personal experience“(Selenić 1977: XXI). Petar Marjanovic argues the text to be the first Serbian realistic drama
Load more

Recommended publications
  • APPENDIX Lesson 1.: Introduction
    APPENDIX Lesson 1.: Introduction The Academy Awards, informally known as The Oscars, are a set of awards given annually for excellence of cinematic achievements. The Oscar statuette is officially named the Academy Award of Merit and is one of nine types of Academy Awards. Organized and overseen by the Academy of Motion Picture Arts and Sciences (AMPAS),http://en.wikipedia.org/wiki/Academy_Award - cite_note-1 the awards are given each year at a formal ceremony. The AMPAS was originally conceived by Metro-Goldwyn- Mayer studio executive Louis B. Mayer as a professional honorary organization to help improve the film industry’s image and help mediate labor disputes. The awards themselves were later initiated by the Academy as awards "of merit for distinctive achievement" in the industry. The awards were first given in 1929 at a ceremony created for the awards, at the Hotel Roosevelt in Hollywood. Over the years that the award has been given, the categories presented have changed; currently Oscars are given in more than a dozen categories, and include films of various types. As one of the most prominent award ceremonies in the world, the Academy Awards ceremony is televised live in more than 100 countries annually. It is also the oldest award ceremony in the media; its equivalents, the Grammy Awards (for music), the Emmy Awards (for television), and the Tony Awards (for theater), are modeled after the Academy Awards. The 85th Academy Awards were held on February 24, 2013 at the Dolby Theatre in Los Angeles, California. Source: http://en.wikipedia.org/wiki/Academy_Award Time of downloading: 10th January, 2013.
    [Show full text]
  • Havc-Izvjestaj-O-Radu-2013.Pdf
    Izvjeπtaj o radu 20131 2 Izvjeπtaj 2013 o radu 1 Sadržaj 0. Uvodnik 5 2.3. Distribucija i prikazivanje kratkometražnog filma 20 2.4. Ostale vijesti vezane uz distribuciju 21 1. Filmska proizvodnja u 2013. godini 6 2.5. Međunarodna distribucija 21 A) Dugometražni igrani film 8 1.1. Prikazani filmovi 8 3. Hrvatski filmovi na svjetskim festivalima 22 1.2. Prikazane manjinske koprodukcije 8 3.1. Hrvatski filmovi na festivalima prve kategorije 24 1.3. Filmovi u postprodukciji 9 3.2. Hrvatski filmovi na ostalim festivalima 25 1.4. Snima se / snimat će se... 9 B) Dugometražni dokumentarni film 10 4. Međunarodna promocija 26 1.5. Završeni naslovi i manjinske koprodukcije 10 4.1. Promocija i plasman na međunarodnim 28 1.6. Filmovi u produkciji i postprodukciji 10 filmskim sajmovima i festivalima C) Kratkometražni animirani, dokumentarni, 11 4.2. Programi hrvatskog filma u inozemstvu 29 eksperimentalni i igrani film 4.3. Programi stručnog usavršavanja hrvatskih filmskih 30 1.7. Završeni i prikazani filmovi 11 profesionalaca 1.8. Filmovi u produkciji i postprodukciji 11 4.4. Javni poziv za međunarodnu suradnju 33 1.9. Dugometražni animirani i eksperimentalni film 11 4.5. Promocija hrvatskih kandidata za nagradu Oscar 35 D) Potpore u 2013. godini 12 i Europsku filmsku nagradu E) Jedna slika iz Domovinskog rata 15 5. Digitalizacija nezavisnih kinoprikazivača 36 2. Distribucija i gledanost 16 5.1. Javna nabava 39 2.1. Razdoblje 2012. /2013. 18 5.2. Ugovorne obveze i potpisivanje ugovora 40 2.2. Druga polovica 2013. godine 18 5.3. Digitalno opremanje dvorana i otvaranje kina 40 5.4.
    [Show full text]
  • Osijek Portfolio of Potential Jewish Heritage Related Tourism Products, Services and Attractions
    R E D I S C O V E R Osijek portfolio of potential Jewish heritage related tourism products, services and attractions R E D I S C O V E R Osijek portfolio of potential Jewish heritage related tourism products, services and attractions IMPRESSUM CONTRACTING AUTHORITY: Grad Osijek /City of Osijek ON BEHALF OF CONTRACTING AUTHORITY: Ivian Vrkić, Mayor SERVICE PROVIDER: RICL Obrt za savjetovanje i usluge Kralja P. Svačića 62, Osijek AUTHOR: Jesenka Ricl Content 1. Short abstract about the Rediscover project 7 1.1 Content of the portfolio 8 2. Workshop outputs within the product development workshop 10 series (Evaluation) 2.1 Inventory workshop in Osijek 10 2.2 Capacity building workshop in Osijek 10 2.3 Match-making workshop in Osijek 11 3. Profile of the City of Osijek and the surroundings 14 3.1 Tourism traffic of Osijek-Baranjacounty and city of Osijek. 15 3.2 Tourism development plans in Osijek-Baranja county and city of Osijek 17 3.2.1 S.O.S. Subotica Osijek Secession Tourist Route 18 3.2.2 Stara Pekara / Old Bakery 18 4. Status of Jewish Cultural Heritage products and services 20 4.1 Historical survey 20 4.2 Basis of tourism offer of the city of Osijek 22 4.3 Tourism portfolio development 30 4.3.1 Infrastructure development 32 4.3.2 Human potential development 32 4.3.3 Market segmentation 33 4.4 Product segmentation according to specific niches 37 4.4.1 Thematic guided tours (in Croatian, English) 37 4.4.2 Ambient performances – living history (in Croatian, English) 38 4.4.3 Exhibition of Weissmann collection – Museum of Slavonia 38 4.4.4 Museum of Personal Stories 39 4.4.5 Promotional materials with sales potential 39 4.4.6 Educational programmes 40 4.4.7.
    [Show full text]
  • FILM FESTIVAL 22Nd - 29Th November 2012
    UNDER THE AUSPICES OF THE EMBASSY OF THE REPUBLIC OF SERBIA IN PRETORIA SERBIAN ARTS AND CULTURE SOCIETY AFRICA SERBIAN FILM FESTIVAL 22nd - 29th November 2012 NU METRO, MONTECASINO An author’s perspective of the world Film, as a sublimation of all arts, is a true medium, a universal vehicle with which the broader public is presented with a world view, as seen by the eye of the fi lmmaker. Nowadays, due to the global economic crisis, which is ironically producing technological and all sorts of other develop- ments, an increasing number of people are pushed to the margins of average standards of living, and fi lmmakers are given the chance to bring under their ‘protection’ millions of disillusioned people with their fi lmmaking capabilities. Art, throughout its history, has always praised but has also been heavily critical of its subject. Film is not just that. Film is that and so much more. Film is life itself and beyond life. Film is everything many of us dream about but never dare to say out loud. That is why people love fi lms. That is why it is eternal. It tears down boundaries and brings together cul- tures. It awakens curiosity and builds bridges from one far away coast to another. Film is a ‘great lie’ but an even greater truth. Yugoslavian, and today the Serbian fi lm industry has always been ‘in trend’. It might sound harsh but, unfortunately, this region has always provided ample ‘material’ for fi lms. Under our Balkan clouds there has been an ongoing battle about which people are older, which came and settled fi rst, who started it and who will be fi rst to leave and such battles have been and continue to be an inspiration to fi lm producers.
    [Show full text]
  • Tom Stoppard
    Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60).
    [Show full text]
  • Macedonian Production & Location Guide
    MACEDONIAN PRODUCTION & LOCATION GUIDE MACEDONIAN FILM AGENCY 8 Mart No.4 1000 Skopje, Macedonia MACEDONIAN PRODUCTION & LOCATION GUIDE Let Macedonia be on your filmmaking map as a beautiful country with breathtaking landscapes, exceptional and skilled local talents and professionals, production companies that have an impressive record in domestic and international production, lowest taxes in the region and Europe and 20% production incentive. …The magic of the Republic of Macedonia is awaiting for you … Explore its beauty. CONTENT 05 INTRODUCTION 05 Macedonian Film Agency 06 Co-production Funding 08 Production incentive 09 Criteria for funding 10 WHY MACEDONIA? 12 MACEDONIA GENERAL OVERVIEW 12 Facts for Macedonia 14 Transport infrastructure 18 Accommodation 18 Communication 18 Climate 23 USEFUL INFO 23 Filming & Location Permits 23 Visas 23 Working Permits 24 Customs Regulations 24 Temporary Import of Professional Equipment 26 BRIEF OVERVIEW OF THE MACEDONIAN FILM INDUSTRY 30 LOCATION GUIDE 30 Regions 38 Urban Areas 38 Rural Areas 40 Lakes 42 Rivers 42 Waterfalls 43 Mountains & National Parks 43 Spa Resorts 45 Caves 46 Big City Island 46 Archeological Sites 47 Churches & Monasteries 4 MACEDONIAN FILM AGENCY Macedonian Film Agency is the newly founded governing film body, erators, internet providers, cinema exhibitors, distributors, entertain- legal successor of the Macedonian Film Fund which started to work in ment games and games of chance. 2014 under the new Film Industry Law. The new Agency will continue Under the new Film Industry Law, The Macedonian Film Agency will to giving its full support to development of the film industry, film tra- be the first stop for foreign companies and individuals who are pre- dition and film culture in Macedonia.
    [Show full text]
  • Yugoslav Cinema
    Egemia, 2018; 3: 31-49 31 TRANSFORMATION OF TRAUMATIC CHARACTERS IN POST- YUGOSLAV CINEMA Ahmet Ender UYSAL* ABSTRACT This study examines the changes Yugoslav cinema realized from the 1980s to the 2000s, and seeks to see the contributions of three important post-Yugoslav directors to the transformation of the cinema characters. The post-Yugoslav states emerged after the disintegration of Yugoslavia, and they underwent political and cultural changes as a result of the collapse of the former Yugoslav socialism and the post-civil war. Post- Yugoslav cinema, which took its share from these changes, experienced crises of national identity and modernization. Examining these changes in cinema with cinematic characters is also very important in terms of visualizing cultural and economic changes in a cinematic sense. The real problem here is where the boundary of this change will be drawn. This is because, although the characters in post-Yugoslavian cinema have been transformed, there is still some cinematic tradition that continues today. Post-Yugoslav cinema will therefore be considered within the period of 1980s. Keywords: Post-Yugoslav cinema, trauma, cinematic characters * Arş. Gör., Yüzüncü Yıl Üniversitesi Güzel Sanatlar Fakültesi, Sinema-Televizyon Bölümü / VAN E-posta: [email protected] Makale Gönderim Tarihi: 14.06.2018 – Makale Kabul Tarihi: 16.10.2018 32 Egemia, 2018; 3: 31-49 INTRODUCTION Often, the concept of post-Yugoslavian cinema offers curative effects on rejection of failure and the search for hope, and becomes a common stake of new countries emerging after the dissolution of the former Yugoslavia, which is increasingly adopted in the field of film studies (Šprah, 2015: 184).
    [Show full text]
  • Seed2016-Web-Spread.Pdf
    Dear documentary friends, The SEED catalogue is in your hands for the fourth time, with an aim to help you on your search through the vibrant documentary productions of Southeast Europe. This is one of the initiatives where several countries joined together to promote their films on the wider international market and to draw your attention to brand new documentaries as well as those that will start their life very soon. This catalogue contains long list of recently finished feature and short documentaries, fresh enough to enrich your next festival edition, or feature films about to be finished in the next 12 months, so you can count on them. ‘Films in development’ are inviting you to start a possible co-operation with local producers and help bringing fascinating stories to your audience. If you are a filmmaker, feel free to browse through the additional list of documentary and major documentary film festivals where you can apply with your new works. Thanks to a close co-operation with the DOK Leipzig, during the festival, you will be able to watch some of the SEED films in the video library and also to hang out with us. We wish you another great documentary year! Yours truly, SEED team 1 CONTENTS FINISHED FILMS FILMS IN DEVELOPMENT 4 - A TWO WAY MIRROR, Katarina Zrinka Matijević, Croatia 46 - BEYOND THE END OF THE WORLD, Srđan Šarenac, Anne Barliant, 5 – CAIMO: BITTER REGRET, Aleksandar Zikov, Macedonia Serbia, Bosnia & Herzegovina, Croatia, USA 6 - CONFUSIONS, Lana Kosovac, Croatia 47 - BIRTH OF A CITY, Gregory Vardarinos, Greece 7 -
    [Show full text]
  • Croatian Films Features, Documentaries & Animation
    Croatian Films Features, Documentaries & Animation Released in 2012 Content 2 Features (11) Documentaries (15) • Flower Square | Cvjetni trg by Krsto Papić · 8 • 20 Days in Tibet | 20 dana na Tibetu by Silvestar Kolbas · 36 • Goltzius and the Pelican Company by Peter Greenaway • Bare Island | Goli otok by Darko Bavoljak · 38 (minority co-production) · 10 • Big Day | Veliki dan by Đuro Gavran · 40 • Good to Go | Sretan do kraja by Matevž Luzar (minority co- • Blockade | Blokada by Igor Bezinović · 42 production) · 12 • Bosanoga, an Entirely Accidental Death | Bosanoga (sasvim • Halima’s Path | Halimin put by Arsen Anton Ostojić · 14 slučajna smrt) by Morana Komljenović · 44 • Hives | Košnice by Group of Directors · 16 • Čedo by Nikola Strašek · 46 • A Letter to My Dad | Pismo ćaći by Damir Čučić · 18 • Dr Andrija Štampar, Visionary | Dr. Andrija Štampar, vizionar by • My Beautiful Country | Most na Ibru by Michaela Kezele Mladen Juran · 48 (minority co-production) · 20 • Family Meals | Nije ti život pjesma Havaja by Dana Budisavljević · 50 • Night Boats | Noćni brodovi by Igor Mirković · 22 • The Fine Art of Mirroring - Youth Day 1987 by Toma Bačić · 52 • Sonja and the Bull | Sonja i bik by Vlatka Vorkapić · 24 • From Grain to Painting | Od zrna do slike by Branko Ištvančić · 54 • Vegetarian Cannibal | Ljudožder vegetarijanac by Branko • Hills Village 21000 Split | Brda 21000 Split by Silvio Mirošničenko Schmidt · 26 · 56 • When Day Breaks | Kad svane dan by Goran Paskaljević · 28 • The King | Kralj by Dejan Aćimović · 58 • Zagreb Stories
    [Show full text]
  • The Other Side of Socialism: History and Cinematic Memory of Socialism Research Article
    The Other Side of Socialism: History and Cinematic Memory of Socialism Research Article Nevena Daković Professor of Film Theory/Film Studies, University of Arts/Belgrade [email protected] Contemporary Southeastern Europe, 2017, 4(2), 67-88 DOI 10.25364/02.4:2017.2.5 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org The Other Side of Socialism: History and Cinematic Memory of Socialism Nevena Daković The aim of this paper is to explore the cinematic history and memory of socialism and broadly of Yugoslavia throughout XXth century as narrativised and represented in the films of Mila Turajlić Cinema Komunisto (2010) and The Other Side of Everything (Druga strana svega, 2017). Accordingly the cinematic texts are understood as: 1) the texts of cultural memory that construct the remembrance of the past and history of Yugoslavia; 2) as cinematic lieux de memoire or field of tensions of memory and history, textual and metatextual layers, fiction and faction; 3) as texts that brilliantly perform the turn from “film about history” to being a “memory-making film” while keeping the two facets. The two case studies are contextualized within the previous tradition of Yugoslav cinema as well as within the larger group of archive films made in 2010s. Keywords: visual memory, cinematic representation, history, Yugoslavia Introduction “History is memory seen through and criticized with the aid of documents of many kinds - written, aural, and visual.
    [Show full text]
  • 6523 Papadimitriou & Grgic.Indd
    CONTEMPORARY BALKAN CINEMA 66523_Papadimitriou523_Papadimitriou & GGrgic.inddrgic.indd i 001/10/201/10/20 33:27:27 PPMM Traditions in World Cinema General Editors Nordic Genre Film Linda Badley (Middle Tennessee State Tommy Gustafsson and Pietari Kääpä (eds) University) Contemporary Japanese Cinema Since R. Barton Palmer (Clemson University) Hana-Bi Adam Bingham Founding Editor Chinese Martial Arts Cinema (2nd edition) Steven Jay Schneider (New York University) Stephen Teo Titles in the series include: Slow Cinema Tiago de Luca and Nuno Barradas Jorge Traditions in World Cinema Expressionism in Cinema Linda Badley, R. Barton Palmer and Steven Jay Olaf Brill and Gary D. Rhodes (eds) Schneider (eds) French Language Road Cinema: Borders, Japanese Horror Cinema Diasporas, Migration and ‘New Europe’ Jay McRoy (ed.) Michael Gott New Punk Cinema Transnational Film Remakes Nicholas Rombes (ed.) Iain Robert Smith and Constantine Verevis (eds) African Filmmaking Coming of Age in New Zealand Roy Armes by Alistair Fox Palestinian Cinema New Transnationalisms in Contemporary Nurith Gertz and George Khleifi Latin American Cinemas Czech and Slovak Cinema Dolores Tierney Peter Hames Celluloid Singapore: Cinema, Performance and The New Neapolitan Cinema the National Alex Marlow-Mann Edna Lim American Smart Cinema Short Films from a Small Nation: Danish Claire Perkins Informational Cinema 1935–1965 C. Claire Thomson The International Film Musical Corey Creekmur and Linda Mokdad (eds) B-Movie Gothic: International Perspectives Justin D. Edwards and Johan
    [Show full text]
  • NETFLIX – CATALOGO USA 20 Dicembre 2015 1. 009-1: the End Of
    NETFLIX – CATALOGO USA 20 dicembre 2015 1. 009-1: The End of the Beginning (2013) , 85 imdb 2. 1,000 Times Good Night (2013) , 117 imdb 3. 1000 to 1: The Cory Weissman Story (2014) , 98 imdbAvailable in HD on your TV 4. 1001 Grams (2014) , 90 imdb 5. 100 Bloody Acres (2012) , 1hr 30m imdbAvailable in HD on your TV 6. 10.0 Earthquake (2014) , 87 imdb 7. 100 Ghost Street: Richard Speck (2012) , 1hr 23m imdbAvailable in HD on your TV 8. 100, The - Season 1 (2014) 4.3, 1 Season imdbClosed Captions: [ Available in HD on your TV 9. 100, The - Season 2 (2014) , 41 imdbAvailable in HD on your TV 10. 101 Dalmatians (1996) 3.6, 1hr 42m imdbClosed Captions: [ 11. 10 Questions for the Dalai Lama (2006) 3.9, 1hr 27m imdbClosed Captions: [ 12. 10 Rules for Sleeping Around (2013) , 1hr 34m imdbAvailable in HD on your TV 13. 11 Blocks (2015) , 78 imdb 14. 12/12/12 (2012) 2.4, 1hr 25m imdbClosed Captions: [ Available in HD on your TV 15. 12 Dates of Christmas (2011) 3.8, 1hr 26m imdbClosed Captions: [ Available in HD on your TV 16. 12 Horas 2 Minutos (2012) , 70 imdb 17. 12 Segundos (2013) , 85 imdb 18. 13 Assassins (2010) , 2hr 5m imdbAvailable in HD on your TV 19. 13 Going on 30 (2004) 3.5, 1hr 37m imdbClosed Captions: [ Available in HD on your TV 20. 13 Sins (2014) 3.6, 1hr 32m imdbClosed Captions: [ Available in HD on your TV 21. 14 Blades (2010) , 113 imdbAvailable in HD on your TV 22.
    [Show full text]