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- W2298678671 abstract "After the premiere of Emir Kusturica's Underground (France/Germany/Bulgaria/Czech Republic/Hungary/Serbia, 1995), scholars fervently started to discuss the newborn Balkan cinema as the phenomenon of a folklorist and exoticising promotion of a post-war block that tries to sell its cinematic products by creating a false, stereotyped, yet entertaining image of the region. These studies (see Jameson, 2004; Longinovic, 2005; Žižek, 1997) primarily focused on the phenomenon of 'self-Balkanization' by accentuating the Balkans' position in contrast to West, thereby forcing the region to undertake the role of Europe's 'Other'. Accordingly, the main discourse on the cinema of the Balkans overlooked alternative filmic productions and the region's film industry has been overshadowed by Kusturica's name and his narrative features of violence, fornication and roistering protagonists, in this way representing an 'Other' that stands against democratic, civilised Western values. Through its title, Aida Vigan and Gordana P. Crnkovic's anthology on Croatian cinema promptly expresses its intention of resisting the dominant discourses about the area's cinema and instead provides an in-depth overview of Croatia's unexplored regional film industry. In Contrast: Croatian Film Today erases the aura of 'Otherness' and offers diverse methods to understand a relatively new, national film school in the Balkans. In contrast to the war-centred 'cinema of hatred' (17), and more stereotyped, carnivalesque approaches, the selected essays, interviews and film reviews create a current portrait of the Balkan cinema and its Croatian segment, proving that the history of the country's cinema 'has been much richer and more complex (...) than the general perception of it has allowed' (17). The first part of the book offers a general overview of Croatia's film industry and looks at its historical and institutional background in order to give an insight into the country's filmic origins and the way its national cinema has emerged. Accordingly, Ivo Skrabalo (21-41) starts at the beginning by examining the diverse milestones of the country's cinematic history, analysing Croatian film in the Yugoslav period. In doing this, Skrabalo argues that Croatian national cinema has overcome the identity" @default.
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- W2298678671 date "2015-12-01" @default.
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- W2298678671 title "Aida Vigan and Gordana P. Crnkovic (eds.) (2012) In Contrast: Croatian Film Today, Zagreb, Croatia: The Croatian Film Association in association with Berghahn Books. 264 pp." @default.
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- W2298678671 doi "https://doi.org/10.3366/film.2015.0052" @default.
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