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Předmět, akademický rok 2022/2023
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History and Present in South East European Cinema - JTM270
Anglický název: History and Present in South East European Cinema
Zajišťuje: Katedra ruských a východoevropských studií (23-KRVS)
Fakulta: Fakulta sociálních věd
Platnost: od 2021 do 2022
Semestr: letní
E-Kredity: 6
Způsob provedení zkoušky: letní s.:
Rozsah, examinace: letní s.:0/4, Zk [HT]
Počet míst: neurčen / neurčen (12)
Minimální obsazenost: neomezen
4EU+: ne
Virtuální mobilita / počet míst pro virtuální mobilitu: ne
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Způsob výuky: prezenční
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
při zápisu přednost, je-li ve stud. plánu
Garant: Mgr. Duta Dan Mircea, Dr., Ph.D.
Vyučující: Mgr. Duta Dan Mircea, Dr., Ph.D.
Třída: Courses for incoming students
Anotace - angličtina
Poslední úprava: Mgr. Jakub Šindelář (16.01.2020)
South-Eastern European Cinemas and the Historical, Social and Political Evolutions in the Balkans with a Special Accent on the Yugoslav Wars in the 9s of the 20th Century is an item consisting in lectures, seminaries, film screenings and debates with external guests, that focuses on the Balkan countries. The films to be screened are made during different historical periods in these region and / or by directors born there. The connection between the destinies of the national cinematographic industries concerned and the historical, social, political and cultural development of the respective nations and states will be examined. It is a complex, diverse and multidimensional connection, also influenced by external factors such as migration, economic development in and outside the region, relations between the states and / or nations concerned with various regional, European and international superpowers, alliances or power centers, respectively cultural, philosophical, artistic or political movements, waves, circles, tendencies, etc.
Cíl předmětu - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

The aim of this course is to acquaint students with Balkan social, historical, cultural and political reality through this complex and multidimensional connection between the cinematographic industries in the region and politics. And in this region politics meant sometimes dictatorship or authoritarian regimes and subsequent psychological, social and of course political methods of manipulating by culture. That is why the second most important goal of this course is to prove / demonstrate the manipulating power of cinema industry in general and especially of films economically, financially - and therefore also politically - dependent on the political power in the Balkans.

Podmínky zakončení předmětu - angličtina
Poslední úprava: doc. PhDr. Jiří Vykoukal, CSc. (28.10.2019)

Course completion requirements reflects Dean´s provisions (https://www.fsv.cuni.cz/opatreni-dekanky-c-172018aj) using assessment A-F (A = 91% and more; B = 81-90%; C = 71-80%; D = 61-70%; E = 51-60%; F = 0-50%).

Main course requirements include active class participation, an in-class presentation and a final paper based on the presentation.

Students are required to consult with the instructor on the topic of their presentation, which shall correspond to one of the thematic areas covered by the movies screened in-class. After the presentation, students are required to turn in their presentation (final paper) as agreed with the instructors in written form. The papers are to be emailed to the respective instructor in a length of approximately three to five pages (including a list of consulted sources).

Attendance and active class participation are required as the course is designed as a seminar. Students are allowed to miss no more than one week. A legitimate explanation must be provided for any further absence. Should a student be unable to deliver his or her scheduled presentation, he or she is required to kindly inform the instructor well in advance so the course schedule could be changed accordingly. Failure to deliver the assigned presentation will result in failure of the course.

Students must pass all assignments in order to pass the course. Papers will be assessed based on the first draft submitted.

There is a zero tolerance in regard to plagiarism. Misconduct will result in failure of the course and further disciplinary action.

Graduating conditions:
-  attendance 10%
-  active participation to seminaries 10%
-  an essay at the end of the semester 80%.

Literatura - angličtina
Poslední úprava: Mgr. Duta Dan Mircea, Dr., Ph.D. (09.03.2023)

  • Goulding, Daniel J. Liberated Cinema: The Yugoslav Experience, 1945–2001. Bloomington: Indiana University Press, 2002. First published in 1985, this is a revised and expanded edition that includes the post-Yugoslav period. A detailed history of Yugoslav and post-Yugoslav narrative cinema (up to 2001), the monograph offers an insightful account of the development of Yugoslavia’s film industry in the aftermath of World War II, as well as its fragmentation with the emergence of Yugoslav successor states in the 1990s. The book considers how post-Yugoslav national cinemas relate to their shared socialist legacies and offers a sociocultural analysis of some of the most significant Yugoslav and post-Yugoslav films.
  • Iordanova, Dina. Cinema of Flames: Balkan Film, Culture and the Media. London: British Film Institute, 2001. An insightful analysis of Balkan film, media, and culture in the context of Yugoslavia’s end. One of the book’s main themes is the externally perceived image—as well as the self-image—of the Balkans as a violent territory.
  • Levi, Pavle. Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema. Stanford, CA: Stanford University Press, 2007. A historically grounded analysis of the ideological impact of Yugoslav and post-Yugoslav cinema, rooted in the contexts of the emergence of the films. One of the central concerns of Levi’s influential monograph is the question of how the ideology of multicultural “brotherhood and unity” that haunted Yugoslav cinema was violently replaced by rampant ethno-nationalisms in the post-Yugoslav period.
  • Volk, Petar. Istorija jugoslovenskog filma. Belgrade, Yugoslavia: Institut za Film, 1986. This pioneering work offers a vast anthology of Yugoslav cinema and film culture ranging from the early 20th century to the 1970s, covering narrative cinema as well as avant-garde and documentary filmmaking. In Serbo-Croatian, includes a summary in English. Yougoslav Wars:
  • Jansen, Stef. “The violence of memories: Local narratives of the past after ethnic cleansing in Croatia.” Rethinking History 6.1 (2002): 77–93;
  • Volčič, Zala. “Yugo-nostalgia: Cultural memory and media in the former Yugoslavia.” Critical Studies in Media Communication 24.1 (2007): 21–38;
  • Hoepken, Wolfgang. “War, memory, and education in a fragmented society: The case of Yugoslavia.” East European Politics & Societies 13.1 (1998): 190–227;
  • Mikula, Maja. “Virtual landscapes of memory.” Information, Communication & Society 6.2 (2003): 169–86;
  • Velikonja, Mitja. “Lost in transition: Nostalgia for socialism in post-socialist countries.” East European Politics & Societies 23(4) (2009): 535–551
  • Miller, Paul B. “Contested memories: The Bosnian genocide in Serb and Muslim minds.” Journal of Genocide Research 8.3 (2006): 311–24.
  • Post-Yougoslav Cinema Jurica Pavičić, Postjugoslavenski film: Stil i ideologija (Zagreb: Hrvatski filmski savez. 2011),
  • Vidan, Aida. “Spaces of ideology in South Slavic films” (Studies in Eastern European Cinema 2.2 (2011): 173–92),
  • Gordana P. Crnković, Post-Yugoslav Literature and Film: Fires, Foundations, Flourishes (New York: Continuum International Publishing Group. 2012)
  • Andrew Horton, “The Vibrant Cinemas in the Post-Yugoslav Space” (in After Yugoslavia: The Cultural Spaces of a Vanished Land. Edited by Radmila Gorup, 185–99 Stanford: Stanford University Press. 2013). Separate ethno-national cinemas are discussed in Ranko Munitić’s Srpski vek filma (Beograd: Institut za film. 1999)
  • Lojz Tršan’s Slovenski film in njegovo varovanje (Ljubljana: Arhiv Republike Slovenije. 1998)
  • Dejan Kosanović’s History of Cinema in Bosnia and Herzegovina 1897–1945 (Beograd: Naučna KMD, Feniks Film. 2005)
  • Nikica Gilić’s Uvod u povijest hrvatskog igranog filma (Zagreb: Leykam International. 2010)
Metody výuky - angličtina
Poslední úprava: Mgr. Duta Dan Mircea, Dr., Ph.D. (09.03.2023)
exposition / course, applications / seminaries, film screenings, debates with external guests
Sylabus - angličtina
Poslední úprava: Mgr. Duta Dan Mircea, Dr., Ph.D. (09.03.2023)

0. 

How could one define a National Cinema in the Balkans; 

- general and specific features of a National Cinema in this region

- History, Geography & National Cinemas in the Balkans

Countries and National Cinemas in the Balkans: ,

- how did the Balkans map change in time

- influences of those changes on the national cinemas in the region

Reasons for studying the National cinemas in the Balkans

- personalities

- emigrants from the Balkans which became famous in other countries 

- The Manakia Brothers Phenomenon

- movements: Novi film, Černi film, The Romanian New Wave, 

The Croatian and the Slovenian New Cinema after 2000 etc.

Nations, nationalities, minorities in the Balkans: 

- objective vs. formal definitions & divisions 

- relativization of those items/notions under political influence

International recognition of the Balkan cinemas after 2000

(concerning especially the Communist countries in the Balkans)

- International recognition vs. failure at home 

 

1. The Communist Balkan

(The course will focus mainly on this chapter)

 

1.1 Bulgaria

1.1.1

Attempts in Filmmaking in the Pre-War and Inter-War Era

Is it possible to talk about a Bulgarian national cinema before 1948?

1.1.2

The Communist Era

1.1.2.1

The 50s: The Proletcultist Era 

1.1.2.2

End of 60s, beginning of 70s: The Romantic Realism 

International recognition

1.1.3

Bulgarian Cinema after the fall of communism:

The decline of the film production and of the artistic quality

1.1.4

Bulgarian cinema after the year 2000: 

State intervention 

The National Film Center

The Revival of the film production 

International recognition

 

1.2  Former Yugoslavia and after

1.2.1

The Pre-  and Inter-War Era

1.2.1.1. Serbia

1.2.1.2 Croatia

1.2.1.3 Bosnia and Herzegovina

1.2.1.4 Slovenia

1.2.2 The Yugoslav Cinema after 1948

- The Proletcultist Cinema

- The Partisan Films ----->> The Partisan "Westerns"

- Glorification of Josip Broz Tito as a cinema figure

1.2.3 End of 60s, beginning of 70s: 

A relative liberalization - Novi film, Černi film

1.2.3.1 Serbia

1,2.3,2 Croatia

1,2,3,3 BiH

1.2.3.4 Slovenia

1.2.4. The 70s and the 80s: The Prague School

1.2.5 

- The raising power of the individual republics

- Ex-centric tendencies in Croatia, Slovenia, BiH

- The influence of those political phenomena on the 

evolution of the regional/republican ("national" to be) cinemas

1.2.6 End of the 80s: 

- Yugoslav Wars, 

- Yugoslav disintegration 

- New Countries, new (artificial?) languages, New Cinemas

1.2.6.1 Yugoslav -------->> Serbian Cinema

The tendencies of the Serbian cinema of appropriating the 

whole inheritance of the Yugoslav cinema 

1.2.6.2 The New Croatian cinema 

1.2.6.3 The New Slovenian cinema 

The roles of the newly founded National Film Institutes

1.2.6.4.:

- The difficile development of the BiH cinema

- The difficile national problem in BiH 

- National tensions

- Polemics: 

°an artificial state? 

°(an) artificial "nation"(s)?

°"Bosnian" vs "Bosniac"?

1.2.6.5  

- The slow and difficile development of the North-

Macedonian cinema

- The fight for a national identity

- Confronting two neiboughring countries' "absorbing"

tendencies: Serbia and Bulgaria

1.2.7

External vs historical influences:

- The influence of the Yugoslav cinema in Serbia, Macedonia, Montenegro

- The influence of the Turkish cinema in BiH

- The influence of the Romanian New Wave on the New Croatian Cinema  

- The tendencies of the Croatian and Slovenian cinema of getting rid of the

Yugoslav inheritance 

1.2.8

Attempts of defining and developing local cinemas in Montenegro and Kossovo

 

1.3. Romania

1.3.1

The Pre- and Inter-War Era: 

distinct and individual productions . too few to define a national cinema

1.3.2.

The communist Era - The Romanian cinema after 1948

1.3.2.1

The relative Liberalization at the end of the 50s and in the 60s:

- the first international co-productions 

- international recognition in the 60s

- no Romanian New Wave while the world was full of them 

1.3.2.2 

The 70s, Ceausescu´s rising power and the return of the censorship

1.3.2.3,

Thr 80s: The "Rebirth" of the Romanian film in form of metaphorical

movies, hard to underśtand by censors and asking from viewers 

a certain intellectual effort in order to be understood

1.3.2.4

The 90s

- The Romanian Anticommunist Revolution; 

- The decline of the film production 

- 1999. One and only Romanian long feature film is made

- Rumors about the "death" of the Romanian cinema

1.3.2.5 The Romanian New Wave

- Main titles and personalities

- Polemics about the movement and its name

- The After New Wave Era

 

1.4 Albania

1.4.1 The Inter-War era: Italian productions shot on the 

Albanian territory

1.4.2 The Albanian Cinema after 1948

- The real "birth" of the Albanian cinema according to 

the communist propaganda

- The Proletcultist Era 

- The Soviet-Chinese duel for the domination of the

Mediterranean country

- The Albanian farewell to the Warsaw Pact and the

Soviet Influence Area

- The 80s and the separation of the Chinese Influence

Area

- International Isolation vs. the paradox of the raising

in the film production (up to 30 films by year)

1.4.3 The 90s and after

- Fall of Communism, decline in the film production

- A relative improvement after the year 2000 and the

founding of a National Film Center

 

2. The Non-Communist Balkan

(facultative chapter - if there's still time at the end of the course)

 

2.1 Greece

2.1.1 The mainstream / The cinema bloom in the 

era of the silent movies

2.1.2 The mainstream / The cinema bloom in the 30s

2.1.3 The erotic cinema 

2.1.4 The Military Dictatorship and the Political 

Cinema

2.1.5 The modern and contemporary era

2.1.6 Personalities of the Greek cinema and the Exile

 

2.2 Turkey

2.2.1 The Avatars of the Turkish Mainstreams

- The "Tollywood"

- Turkish remakes of famous movies, fragments or

even scenes

- The Golden Era of the Turkish Mainstream: the 

70s and the 80s

2.2.2 The 90s and the New Turkish Cinema

- The problematization of the traditional Turkish 

cutumes 

- Addressing the contradictions between the Turkish

traditions and mentality and the European elements 

of everyday life

- Human / Women rights in films made in the 90s 

2.2.2 The Turkish Independent Cinema  

 
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