عرض عادي

Retracing images : visual culture after Yugoslavia / edited by Daniel Šuber and Slobodan Karamanić.

المساهم (المساهمين):Šuber, Daniel | Karamanić, Slobodan.
نوع المادة : نصنصالسلاسل:Balkan studies library: v. 4.الناشر:Leiden ; Boston : Brill, [2012]تاريخ حقوق النشر: copyright 2012الوصف:xvi, 349 pages : illustrations ; 25 cm.نوع المحتوى:text نوع الوسائط: unmediated نوع الناقل:volumeردمك:9789004210301 (hbk); 900421030X (hbk).الموضوع(موضوعات):Yugoslavia -- Intellectual life -- 1992-2003 | Yugoslavia -- Politics and government -- 1992-2003 | Yugoslavia -- Social conditions | Yugoslav War, 1991-1995 -- Social aspects | Post-communism -- Social aspects -- Yugoslavia -- History | Art and state -- Yugoslavia -- History | Art and society -- Yugoslavia -- History | Visual communication -- Yugoslavia -- History | Popular culture -- Yugoslavia -- History | Political culture -- Yugoslavia -- Historyملخص: The essays in this collection explore cultural and political dynamics both before and in the wake of Yugoslavia{u2019}s destruction by analysing visual data such as film, art, graffiti, street-art, public advertisements and memorials. Although such materials have rarely been considered significant empirical evidence within Balkan Studies, the contributions in this volume offer insights into such phenomena as {u2018}Titostalgia{u2019}, nationalist mobilisation, nation-branding, the rewriting of history, inventing of traditions, and symbolic violence that have surfaced in recent years. Nebojša Jovanovic ́argues against post-Yugoslav tendencies to appropriate or rather {u2018}nationalise{u2019} the Yugoslav film-makers and thus eradicate the notion of {u2018}Yugoslav cinema{u2019} entirely. By reassessing the controversial case of Kusturica, he goes about the task of 2re-inventing the legacy of socialist Yugoslav cinema3 against ideologically-motivated misconceptions. Against the widespread picture of the pre-Underground Kusturica as a vanguard in critically displaying the purportedly {u2018}totalitarian{u2019} character of socialist Yugoslavia, Jovanovic ́shows how Kusturica{u2019}s early filmic universe cannot be interpreted through dichotomist lenses such as private vs. public, individual vs. state or Party vs. family.
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كتاب كتاب UAE Federation Library | مكتبة اتحاد الإمارات
General Collection | المجموعات العامة
DR1317 R48 2012 (استعراض الرف(يفتح أدناه)) C.1 Library Use Only | داخل المكتبة فقط 30010000399743

Includes bibliographical references and index.

The essays in this collection explore cultural and political dynamics both before and in the wake of Yugoslavia{u2019}s destruction by analysing visual data such as film, art, graffiti, street-art, public advertisements and memorials. Although such materials have rarely been considered significant empirical evidence within Balkan Studies, the contributions in this volume offer insights into such phenomena as {u2018}Titostalgia{u2019}, nationalist mobilisation, nation-branding, the rewriting of history, inventing of traditions, and symbolic violence that have surfaced in recent years. Nebojša Jovanovic ́argues against post-Yugoslav tendencies to appropriate or rather {u2018}nationalise{u2019} the Yugoslav film-makers and thus eradicate the notion of {u2018}Yugoslav cinema{u2019} entirely. By reassessing the controversial case of Kusturica, he goes about the task of 2re-inventing the legacy of socialist Yugoslav cinema3 against ideologically-motivated misconceptions. Against the widespread picture of the pre-Underground Kusturica as a vanguard in critically displaying the purportedly {u2018}totalitarian{u2019} character of socialist Yugoslavia, Jovanovic ́shows how Kusturica{u2019}s early filmic universe cannot be interpreted through dichotomist lenses such as private vs. public, individual vs. state or Party vs. family.

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