Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0011
Raluca Iacob
The chapter on Romania examines post 2008 Romanian cinema through the dual prism of its film festival successes and the developing strand of genre-based popular films. Offering an account that goes beyond the critical successes of the New Wave films, the chapter discusses the difficulty of national productions to reach local audiences despite the increased adoption of genre. It also provides some explanations for the limited output of Romanian cinema, which is notable despite the increase in European and Balkan co-productions.
{"title":"Romania: Transnational and National Tensions Beyond the New Wave","authors":"Raluca Iacob","doi":"10.3366/edinburgh/9781474458436.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0011","url":null,"abstract":"The chapter on Romania examines post 2008 Romanian cinema through the dual prism of its film festival successes and the developing strand of genre-based popular films. Offering an account that goes beyond the critical successes of the New Wave films, the chapter discusses the difficulty of national productions to reach local audiences despite the increased adoption of genre. It also provides some explanations for the limited output of Romanian cinema, which is notable despite the increase in European and Balkan co-productions.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123013166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0007
Maria D. Chalkou
The chapter on Greece provides a contextualizing overview of the flourishing post-2008 Greek film culture and a brief exploration of its important trends and patterns. It identifies three major strands within Greek cinema: (a) popular heritage narratives that employ shared histories (e.g., Holocaust, WWII) while capitalizing on national specificity; (b) ‘weird wave’ or aesthetically challenging genre-oriented art-house films, widely screened at international festivals; and (c) politically oriented documentaries that address issues of global interest such as neo-Nazism and the financial or refugee crises. The chapter places particular emphasis on how these trends ‘Europeanize’ and ‘transnationalize’ the Greek experience by securing international funding and addressing non-national audiences, while, at the same time, renegotiating national identity.
{"title":"Greece: Transnational Dynamics in Greek Cinema since the Crisis","authors":"Maria D. Chalkou","doi":"10.3366/edinburgh/9781474458436.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0007","url":null,"abstract":"The chapter on Greece provides a contextualizing overview of the flourishing post-2008 Greek film culture and a brief exploration of its important trends and patterns. It identifies three major strands within Greek cinema: (a) popular heritage narratives that employ shared histories (e.g., Holocaust, WWII) while capitalizing on national specificity; (b) ‘weird wave’ or aesthetically challenging genre-oriented art-house films, widely screened at international festivals; and (c) politically oriented documentaries that address issues of global interest such as neo-Nazism and the financial or refugee crises. The chapter places particular emphasis on how these trends ‘Europeanize’ and ‘transnationalize’ the Greek experience by securing international funding and addressing non-national audiences, while, at the same time, renegotiating national identity.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117299260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0008
Francesca Borrione, Albana Muco
The chapter on Kosovo examines the history and evolution of Kosovar cinema since 2008, the year of its independence. It focuses on genres and narratives that address Kosovo’s past and present ethnic and social conflicts, while stressing the importance of the public funding system through Kosova Cinematography Center and international co-productions. The chapter also explores national and international film distribution, with a focus on Kosovar film festivals as cultural platforms for raising awareness of political, educational, and social issues.
{"title":"Kosovo: Cinematic Developments between Conflicts and Social Transformation","authors":"Francesca Borrione, Albana Muco","doi":"10.3366/edinburgh/9781474458436.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0008","url":null,"abstract":"The chapter on Kosovo examines the history and evolution of Kosovar cinema since 2008, the year of its independence. It focuses on genres and narratives that address Kosovo’s past and present ethnic and social conflicts, while stressing the importance of the public funding system through Kosova Cinematography Center and international co-productions. The chapter also explores national and international film distribution, with a focus on Kosovar film festivals as cultural platforms for raising awareness of political, educational, and social issues.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"77 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120886024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0010
Vessela S. Warner
Adjusting to the economic hardship after 2008 by tapping into international markets and business cooperation, North Macedonian cinema has maintained a steady focus on its cultural branding and world image. While the genre and thematic variety of documentaries and shorts testifies to the unceasing interest in and demand of cinematic self-expression, the few feature films produced each year display a rather safe balance between entertainment and national self-assertion. This chapter discusses several recent films which mediate the political and cultural currents in this liminal space through the categories of national-recollective, national-symbolic, and national-reflective to understand the multiple and merging national narratives.
{"title":"North Macedonia: A Nation and Cinema in Transition","authors":"Vessela S. Warner","doi":"10.3366/edinburgh/9781474458436.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0010","url":null,"abstract":"Adjusting to the economic hardship after 2008 by tapping into international markets and business cooperation, North Macedonian cinema has maintained a steady focus on its cultural branding and world image. While the genre and thematic variety of documentaries and shorts testifies to the unceasing interest in and demand of cinematic self-expression, the few feature films produced each year display a rather safe balance between entertainment and national self-assertion. This chapter discusses several recent films which mediate the political and cultural currents in this liminal space through the categories of national-recollective, national-symbolic, and national-reflective to understand the multiple and merging national narratives.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130943557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0013
Polona Petek
The chapter on Slovenia maps a profound transformation that started taking place in Slovenian cinema in the 2010s, namely the fact that both filmmaking and film culture at large have grown to become increasingly transnational and cosmopolitan. Through a discussion of the work of both established and emergent auteurs, the text identifies shared features and aesthetics. The chapter places emphasis on women as a prominent group on the rise not only among filmmakers, but also among decision-makers and educators. Aiming to present a broader picture of contemporary Slovenian film culture, the chapter also focuses on the country’s film festivals and the development of film education and scholarship.
{"title":"Slovenia: A Small National Cinema in the Phase of Transnational Synergy","authors":"Polona Petek","doi":"10.3366/edinburgh/9781474458436.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0013","url":null,"abstract":"The chapter on Slovenia maps a profound transformation that started taking place in Slovenian cinema in the 2010s, namely the fact that both filmmaking and film culture at large have grown to become increasingly transnational and cosmopolitan. Through a discussion of the work of both established and emergent auteurs, the text identifies shared features and aesthetics. The chapter places emphasis on women as a prominent group on the rise not only among filmmakers, but also among decision-makers and educators. Aiming to present a broader picture of contemporary Slovenian film culture, the chapter also focuses on the country’s film festivals and the development of film education and scholarship.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115780209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0004
Gergana Doncheva
The chapter on Bulgaria explores how the country’s EU membership impacted on national cinema legislation, leading to a progressive change in production models and a steady increase in co-production activities. The chapter discusses the emergence of a new generation of filmmakers with new artistic styles, the evident tension between arthouse and mainstream films and the reception of national cinema by local audiences. It also examines the increased visibility of Bulgarian cinema at international film festivals and its critical acclaim.
{"title":"Bulgaria: Reframing Contemporary Arthouse and Mainstream Cinema","authors":"Gergana Doncheva","doi":"10.3366/edinburgh/9781474458436.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0004","url":null,"abstract":"The chapter on Bulgaria explores how the country’s EU membership impacted on national cinema legislation, leading to a progressive change in production models and a steady increase in co-production activities. The chapter discusses the emergence of a new generation of filmmakers with new artistic styles, the evident tension between arthouse and mainstream films and the reception of national cinema by local audiences. It also examines the increased visibility of Bulgarian cinema at international film festivals and its critical acclaim.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115781451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0014
M. Behlil
The chapter on Turkey draws a multifaceted portrait of the film (and television) industry in the country, including ongoing struggles between state and filmmakers, while also presenting a critical overview of the films made. It highlights thematic and stylistic contradictions between box office hits and arthouse cinema and supports its analysis of audience numbers with dedicated charts. The chapter charts the transnational links of this large and self-sustaining industry, while also pointing to the oppressive political environment that results in both state- and self-imposed censorship.
{"title":"Turkey: Transnational Dimensions of a Large National Film Industry","authors":"M. Behlil","doi":"10.3366/edinburgh/9781474458436.003.0014","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0014","url":null,"abstract":"The chapter on Turkey draws a multifaceted portrait of the film (and television) industry in the country, including ongoing struggles between state and filmmakers, while also presenting a critical overview of the films made. It highlights thematic and stylistic contradictions between box office hits and arthouse cinema and supports its analysis of audience numbers with dedicated charts. The chapter charts the transnational links of this large and self-sustaining industry, while also pointing to the oppressive political environment that results in both state- and self-imposed censorship.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131016562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0009
S. Jovanović
The chapter on Montenegro discusses the circumstances in which Montenegrin cinema developed since its independence in 2006. It highlights how rapid socio-economic development, the strengthening of national identity and Euro-Atlantic integration processes, brought opportunities for the revitalization of film industry. New policies and institutions, such as the new Law on Cinematography (2015) and the establishment of the Film Centre of Montenegro (2017) supported such growth, evidence of which is the increased number of film companies and their role in providing production services to foreign companies that choose Montenegrin locations for their shoots.
{"title":"Montenegro: A Small, Open and Forward-looking Film Industry","authors":"S. Jovanović","doi":"10.3366/edinburgh/9781474458436.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0009","url":null,"abstract":"The chapter on Montenegro discusses the circumstances in which Montenegrin cinema developed since its independence in 2006. It highlights how rapid socio-economic development, the strengthening of national identity and Euro-Atlantic integration processes, brought opportunities for the revitalization of film industry. New policies and institutions, such as the new Law on Cinematography (2015) and the establishment of the Film Centre of Montenegro (2017) supported such growth, evidence of which is the increased number of film companies and their role in providing production services to foreign companies that choose Montenegrin locations for their shoots.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114876407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0012
Nevena Daković, Aleksandra Milovanović, Ivan Leković
The chapter on Serbia examines the significance of the new opportunities for Serbian cinema offered by the country’s inclusion in the Eurimages and MEDIA programs and identifies major turning points and thematic markers within recent Serbian films. It analyses several distinct facets of recent cinematic developments: the emergence of a new wave of young directors whose films contain innovative cinematic and social perspectives; the rise in popular historical genre films supporting nationalist values; and the abundance of commercial – but often unpopular - filmmaking, marked by repetitive genre formulas and stereotypical themes.
{"title":"Serbia: Reco(r)ding the Cinematic Turn","authors":"Nevena Daković, Aleksandra Milovanović, Ivan Leković","doi":"10.3366/edinburgh/9781474458436.003.0012","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0012","url":null,"abstract":"The chapter on Serbia examines the significance of the new opportunities for Serbian cinema offered by the country’s inclusion in the Eurimages and MEDIA programs and identifies major turning points and thematic markers within recent Serbian films. It analyses several distinct facets of recent cinematic developments: the emergence of a new wave of young directors whose films contain innovative cinematic and social perspectives; the rise in popular historical genre films supporting nationalist values; and the abundance of commercial – but often unpopular - filmmaking, marked by repetitive genre formulas and stereotypical themes.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114091592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-19DOI: 10.3366/edinburgh/9781474458436.003.0002
B. Williams, Kledian Myftari
The chapter on Albania examines the increased transnational mobility of production funds from both the former Eastern Bloc and the West, placing particular emphasis on the international education and life experiences of Albanian filmmakers debuting or active in the late 2000s and 2010s. It identifies how this cultural cosmopolitanism has rendered Albania’s decades-long isolation a thing of the past, while fostering the development of a cinema of quality and an increase in international co-productions.
{"title":"Albania: Crossing Borders with a New Imaginary","authors":"B. Williams, Kledian Myftari","doi":"10.3366/edinburgh/9781474458436.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474458436.003.0002","url":null,"abstract":"The chapter on Albania examines the increased transnational mobility of production funds from both the former Eastern Bloc and the West, placing particular emphasis on the international education and life experiences of Albanian filmmakers debuting or active in the late 2000s and 2010s. It identifies how this cultural cosmopolitanism has rendered Albania’s decades-long isolation a thing of the past, while fostering the development of a cinema of quality and an increase in international co-productions.","PeriodicalId":409277,"journal":{"name":"Contemporary Balkan Cinema","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130569452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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