Balkan Cinema: Film and History

专著《巴尔干电影：电影和历史》将开辟新的天地，它将对历史话语的跨文化再现问题提出亟需的见解。它不仅对与具体地域相关的电影史和文化史，而且对电影史学的方法论都有重要贡献。这项研究将采用跨国方法，并寻求调和该地区电影话语中对历史材料进行的有争议的改编。20世纪90年代中期，我第一次开始研究巴尔干电影和表现的主题。当时，学术界的同事警告我，我永远不能发表我的研究成果，因为它太晦涩了。尽管如此，我的第一本专著《火焰的电影：巴尔干电影、文化和媒体》(BFI)于2001年出版，涉及波斯尼亚战争的电影表现和话语。它被描述为一项开创性的研究(Cineaste)，并被与权威作品进行比较，如埃拉·肖哈特(Ella Shohat)和罗伯特·斯塔姆(Robert Stam)的不假思索的欧洲中心主义(由欧洲文化研究杂志撰写)。然后BFI委托我写一本关于导演埃米尔·库斯图里卡的专著，这本书于2002年出版。同样在2002年，AHRB也对我的努力给予了认可，授予了一项研究拨款，允许我招聘一名博士后研究员和一名博士生，穿越巴尔干半岛，获得该地区独特的视频和DVD电影收藏。自从我可以说我帮助建立了一个新的研究领域--近年来，大约有10名博士生在美国和英国为相关主题的论文辩护；社区正在增长，奖学金也在增长。我最近编辑的合集(2006年)以来自10个国家的撰稿人为特色，并收录了该地区24部精选电影的论文；它目前正在国际上推广。我的作品已被翻译成十多种语言，从法语和德语、土耳其语和罗马尼亚语到韩语和日语。多年来，我对电影研究的其他领域也产生了兴趣。最近，我一直致力于跨国电影、印度电影、电影节和欧洲电影业的工作。如果我想在未来从事这些新的研究，我首先需要成功地完成我在巴尔干地区的电影和历史工作。我预计它将随着计划中的专著而达到高潮，这本专著将总结我的专业知识，并将创造出亟需的公众对巴尔干电影珍宝的认识。这部作品将对跨国/地区电影的研究，以及对历史话语的电影表现的研究做出重要贡献。在我的项目中，我试图为两个主要的研究问题提供答案：--从20世纪初的马纳基兄弟到现在，巴尔干地区丰富而深奥的电影传统(包括前南斯拉夫、希腊、保加利亚、罗马尼亚、土耳其和阿尔巴尼亚的电影院)的关键特征是什么？--从对这种传统中丰富的历史电影的比较探索中可以得出什么重要的意识形态结论？按照目前的计划，这是这本专著的试探性结构：巴尔干电影：电影和HISTORYPart我巴尔干存在吗？第一章，连接互不相连的空间。第二章。从马纳基亚兄弟到巴尔干电影基金会。第二部分：民族主义者的传奇和沉寂的历史。第三章帝国之间：奥斯曼帝国的足迹第四章：变幻莫测的自决。第五章：胆小的现代性：父权制的时钟。第六章.不同的地理和十字路口。第三部分：历史的变迁第七章网络空间的哈伊达克：流行文体第八章转换叙事

The monograph Balkan Cinema: Film and History will break new ground in that it will initiate much needed insights into issues of the cross-cultural representation of historical discourses. It will make important contribution not only to film and cultural history related to the concrete region, but also to the methodology of film historiography. The study will adopt a transnational approach and seek to reconcile the contested reworking of historical material taking place in the region's cinematic discourse. I first started working on the subject matter of Balkan cinema and representation in the mid-1990s. Back then academic colleagues warned me that I will never be able to publish my research as it was too obscure. Nonetheless, my first monograph Cinema of Flames: Balkan Film, Culture and the Media (BFI), dealing with the cinematic representation and discourse on the Bosnian war, came out in 2001. It was described as a 'groundbreaking' study (Cineaste) and was compared to magisterial works such as Ella Shohat and Robert Stam's Unthinking Eurocentrism (by the European Journal of Cultural Studies). The BFI then commissioned me to write a monograph on director Emir Kusturica, which came out in 2002. Also in 2002 the AHRB gave acknowledgment to my efforts by awarding a research grant that allowed me to recruit a post doctoral researcher and a PhD student, travel across the Balkans and acquire a unique collection of films from the region on video and DVD. Ever since I could claim that I helped establish a new field of research -- in recent years about ten PhD candidates defended theses on related topics in the US and the UK; the community is growing and so is the scholarship. My most recent edited collection (2006) featured contributors from ten countries and included essays on twenty-four select films from the region; it is being currently promoted internationally. My work has been translated in more than ten languages, from French and German, Turkish and Romanian to Korean and Japanese. Over the years I developed interests in other areas of film studies as well. Lately I have been putting out work on transnational film, Indian cinema, film festivals, and European film industry. If I want to pursue these new research lines in the future, I need to first successfully wrap up my work on film and history in the Balkans. I expect it to climax with the planned monograph that will sum up my expert knowledge and will create a much needed public awareness of Balkan cinematic treasures. The work will make an important contribution to the study of transnational/regional cinema, as well as to the study of the frilm representation of historical discourse. In my project, I seek to provide answers to two main research questions:-- What are the key features of the rich yet esoteric cinematic tradition of the Balkans (including the cinemas of ex-Yugoslavia, Greece, Bulgaria, Romania, Turkey and Albania), from the brothers Manaki early in the 20th century to present day? -- What important ideological conclusions can be drawn from a comparative exploration of the historical films that abound within this tradition?Here is the tentative structure of the monograph, as planned at the moment:BALKAN CINEMA: FILM AND HISTORYPart I Do the Balkans Exist? Chapter 1. Connecting the Disconnected Space. Chapter 2. From Manakia Brothers to the Balkan Film Fund.Part II Nationalist Sagas and Hushed Histories Chapter 3 Between Empires: The Ottoman Footprint Chapter 4. The Vagaries of Self-Determination. Chapter 5. Timid Modernity: Patriarchal Chronotops. Chapter 6. Alternative Geographies and Crossroads.Part III In the Flux of History Chapter 7 Hajduks in Cyberspace: The Popular Genres Chapter 8 Shifting Narratives