Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema
Disintegration in Frames examines the ways in which national identity and interethnic relations are approached, evaluated, and critically dissected in films by directors such as Du an Makavejev, Emir Kusturica, and Srdan Dragojevic; subcultural television and musical performances of the Bosnian pop-art movement New Primitivism; amateur video works made by the returning veterans of the Croatian war; political documentaries chronicling the psychological effects of state socialism; and more.
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acousmatic aesthetic Aleksic authorities Balkan Belgrade Bosnian Bosnian war camera central character Chetniks communist context critical critique Croatian Croats cultural death democratic depicting diegetic documentary Dragojevic Dusan Makavejev Eisenstein Emir Kusturica Ethnic Enemy ethnic hatred existence fact Father federation FIGURE film film's filmmaker footage freedom function Halil historical Ibid identity ideological Innocence Unprotected interethnic Josip Broz Kusturica's liberation Marcuse Marko Milan Milosevic Milosevic's montage Muslim narrative nationalist Partisan Pavlovic's perspective Plastic Jesus political Praxis precisely Pretty Flame Pretty Village Primitivist Primitivs production protagonists protest reality regime represented Salecl Sarajevan Sarajevo scene Serb Serbia sexual shot slav Slavoj Slobodan Slovenia social socialist sociopolitical soldiers South Slavs Srdjan Srdjan Dragojevic Srdjan Vuletic Stojanovic Stojanovic's structure supposed to believe surreal Surrealists symbolic television tion Tito Tito's Top List tunnel Ugresic Underground University Press Ustashas Valter viewer visual voice Yugo Yugoslav cinema Yugoslavia Zabranjeno Zabranjeno pusenje Zilnik's Zivojin Pavlovic