Balkan Cinema: Film and History

专著《巴尔干半岛的电影》：电影和历史将开辟新的天地，因为它将启动急需的洞察力的问题，跨文化的代表性的历史话语。它不仅对具体地域的电影史和文化史研究有重要贡献，而且对电影史学的方法论也有重要意义。这项研究将采用跨国方法，并寻求调和该地区电影话语中发生的有争议的历史材料改编。我第一次开始研究巴尔干半岛的电影和代表性的主题是在20世纪90年代中期。当时学术界的同事警告我，我永远无法发表我的研究，因为它太模糊了。尽管如此，我的第一本专著《火焰电影：巴尔干半岛的电影、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。它被描述为一个“开创性”的研究（Cineaste），并与诸如Ella Shohat和Robert Stam的Unthinking Eurocentrism（由欧洲文化研究杂志）等大师作品进行了比较。然后，BFI委托我写一本关于导演埃米尔·库斯图里卡的专著，于2002年出版。同样在2002年，AHRB对我的努力给予了肯定，授予我一笔研究经费，使我能够招募一名博士后研究员和一名博士生，穿越巴尔干半岛，并获得了该地区独特的电影视频和DVD收藏。自从我可以声称我帮助建立了一个新的研究领域--近年来大约有十名博士候选人在美国和英国就相关主题进行了论文答辩;社区正在发展，奖学金也在发展。我最近编辑的作品集（2006年）收录了来自10个国家的投稿人，并收录了关于该地区24部精选电影的文章;目前正在国际上推广。我的作品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。最近我一直在从事跨国电影，印度电影，电影节和欧洲电影业的工作。如果我想在未来继续这些新的研究方向，我需要首先成功地完成我在巴尔干半岛的电影和历史工作。我希望它的高潮与计划的专著，将总结我的专业知识，并将创造一个急需的公众意识的巴尔干半岛的电影宝藏。这部作品将为跨国/区域电影的研究以及历史话语的弗赖姆再现研究做出重要贡献。在我的项目中，我试图提供两个主要的研究问题的答案：-什么是巴尔干半岛（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），从兄弟Manaki早在20世纪世纪到今天丰富而深奥的电影传统的主要特点是什么？--从对这一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？以下是目前计划的专题论文的初步结构：巴尔干电影：电影和历史第一部分巴尔干存在吗？第1章连接断开的空间。第2章.从马纳基亚兄弟到巴尔干半岛的电影基金。第二部分民族主义传奇和秘史第三章帝国之间：奥斯曼帝国的足迹第四章。自决的模糊性。第5章.现代性：Patriarchy Chronotops。第6章第三部分在历史的变迁中第七章网络空间中的伊斯兰教信徒：流行的类型第八章变化的叙事

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