TRANSFORMATION OF TRAUMATIC CHARACTERS IN POST-YUGOSLAV CINEMA
This study examines the changes in Yugoslav cinema had realized from the 1980s to the 2000s, and seeks to see the contributions of the three important post-Yugoslav directors to the transformation of the cinema characters. The post-Yugoslav states emerged after the disintegration of Yugoslavia, had undergoes political and cultural changes as a result of the collapse of the former Yugoslav socialism and the post-civil war. The post-Yugoslav cinema, which took its share from these changes, experienced national identity and modernization crises. The examination of these changes in the cinema with cinematic characters is also very important in terms of visualizing cultural and economic changes in cinematic sense. The real problem here is where the boundary of this change will be drawn. Because, although the characters in the post-Yugoslavian cinema have been transformed, there is still some cinematic tradition that continues today. Post-Yugoslav cinema will therefore be considered in a broad context, with the 1980s era.
Anahtar Kelimeler:
Post-Yugoslav cinema, trauma, cinematic characters
___
- Bakhtin, M. (1982). The dialogic imagination. Austin, TX: University of Texas.
- Batel, M. (2009). Everyday life and Yugoslav cinema in late socialism. (Phd dissertation). Central European University, Budapest, Hungary.
- Bertellini, G. (2014). Emir Kusturica. Champaign: University of Illinois.
- Crofts, S. (1993). Reconceptualizing national cinemas. Quarterly Review of Film & Video, 14(3), 49-67.
- Gallagher, C. (2008, 17 January). Midwinter night’s dream. NotComing.com, http://www.notcoming.com/reviews/midwinternightsdream/ (accessed 18 April 2018).
- Gocic, G. (1992). Forbidden fruit. Sight and Sound, 1(11), 6-6.
- Gocic, G. (2001). Notes from the underground: the cinema of Emir Kusturica. London: Wallflower.
- Goulding, D. J. (2002). Liberated cinema: the Yugoslav experience, 1945-2001. Bloomington: Indiana University.
- Griffiths, S. I. (1993). Nationalism and ethnic conflict: threats to European security Vol.5. New York: Oxford University.
- Halligan, B. (2000). An aesthetic of chaos: the blurring of political subtexts in film depictions of the Bosnian war. Ed. A. J. Horton, in The celluloid tinderbox: Yugoslav screen reflection of a turbulent decade (pp. 62-88), Telford, UK: Central Europe Review.
- Holden, S. (2011, July 27). Best of all possible worlds: when life gives you mud, take a mud bath. The New York Times, https://www.nytimes.com/2011/07/28/movies/the-optimists-by-goran-paskaljevic-review.html (accessed 26 April 2018).
- Horton, A. (1981). Satire and sympathy: a new wave of Yugoslavian filmmakers. Cinéaste, 11(2), 18-22.
- Horton, A. (1995). Only crooks can get ahead: post-Yugoslav cinema/tv/video in the 1990’s. Eds. S. P. Ramet & L. S. Adamovic, in Beyond Yugoslavia, politics, economics and culture in a shattered community (pp. 413-431), Boulder, CO: Westview.
- Horton, A. (1999). Vignettes of violence, different attitudes in recent Yugoslav cinema. Central Europe Review, 1(18), http://www.ce-review.org/99/18/kinoeye18_horton1.html (accessed 25 April 2018).
- Imre, A. (Ed.) (2012). Introduction. in A companion to Eastern European cinemas (pp. 1-23). Malden: Wiley-Blackwell.
- Iordanova, D. (2000). Introduction. Ed. A. J. Horton, in The celluloid tinderbox: Yugoslav screen reflection of a turbulent decade (pp. 5-15), Telford, UK: Central Europe Review.
- Iordanova, D. (2010). Kusturica’s underground (1995): historical allegory or propaganda? Historical Journal of Film, Radio and Television, 19(1), 69-86.
- Jameson, F. (2004). Thoughts on Balkan cinema. Eds. A. Egoyan & I. Balfour, in Subtitles: on the foreignness of film (pp. 231-257), Cambridge, MA and London: MIT.
- Jelača, D. (2015). Dislocated screen memory: narrating trauma in post-Yugoslav cinema. New York: Palgrave.
- Keene, J. (2001). The filmmaker as historian, above and below ground Emir Kusturica and the narratives of Yugoslav history. Rethinking History, 5(2), 233-253.
- Kronja, I. (2008). Women's rights in Serbian cinema after 2000. New Review of Film and Television Studies, 6(1), 67-82.
- Levi, P. (2007). Disintegration in frames: aesthetics and ideology in the Yugoslav and post-Yugoslav cinema, Stanford: Stanford University.
- Levi, D. (2014). Negotiating tropes of madness: trauma and identity in post-Yugoslav cinemas. (PhD Thesis). The University of Manchester, Manchester, UK.
- Longinović, T. (2005). Playing the western eye: Balkan masculinity and post-Yugoslav war cinema. Ed. A. Imre, in Eastern European cinemas (pp. 35-47), London: Routledge.
- Mazierska, E. (2010). Eastern European cinema: old and new approaches. Studies in Eastern European Cinema, 1(1), 5-16.
- Miskovic, M. (2006). Fierce mustache, muddy chaos, and nothing much else: two cinematic images of the Balkans. Cultural Studies Critical Methodologies, 6(4), 440-459.
- Nagy, P., Rouyer, P. & Rubin, D. (2013). World encyclopedia of contemporary theatre: Europe. London: Routledge.
- Ognjanović, D. (2009). Genre films in recent Serbian cinema, Kinokultura8, http://www.kinokultura.com/specials/8/ognjanovic.shtml (accessed 25 April 2018).
- Pavicic, J. (2000, 15 May). Moving into the frame Croatian film in the 1990’s, 2 (19), Central Europe Review. http://www.ce-review.org/00/19/kinoeye19_pavicic.html (accessed 25 April 2018).
- Pavicic, J. (2010). ‘Cinema of normalization’: changes of stylistic model in post-Yugoslav cinema after the 1990s. Studies in Eastern European Cinema, 1(1), 43-56.
- Rawski, T., & Roman, K. (2014). How to escape? The trap of the transition in the recent cinema of Bosnia and Herzegovina (2000-2012). Colloquia Humanistica No. 3, 193-206.
- Shoup, P. (1968). Communism and the Yugoslav national question. New York: Columbia University.
- Šprah, A. (2016). There is no such thing as an apolitical film. Studies in Eastern European Cinema, 7(2), 184-186.
- Sulstarova, E. (2012). Constructing Albanian communist identity through literature: nationalism and orientalism in the works of Ismail Kadare. Ed. C. Bogdan, in History of communism in Europe Vol.3 (pp. 131-146), Bucharest: Zeta Books.
- Zelevinsky, V. (1999, October 15). Black cat, white cat a world of their own. The Tech Online Edition. http://tech.mit.edu/V119/N50/Black-White_cat.50a.html (accessed 25 April 2018).
- Zildzo, N. (1990). Sjecam se... in exhibition catalogue Sarajevo new primitivs, Sarajevo: Art Gallery of Bosnia - Herzegovina, March.
- Zmak, J. (2008). An overview of the (new) Croatian cinema. Eds. M. Darras & M. P. Cruz, in Balkan identities, Balkan cinemas (pp. 50-54), Torino, Italia: NISI MASA.
- Yayın Aralığı: Yılda 2 Sayı
- Başlangıç: 2017
- Yayıncı: Ege Üniversitesi