Pregled bibliografske jedinice broj: 1252219
Visual Construction of Modernity: The Case of Cinematography of Socialist Yugoslavia
Visual Construction of Modernity: The Case of Cinematography of Socialist Yugoslavia // Abstract Book - 15th ESA Conference - "Sociological Knowledges for Alternative Futures"
Barcelona, Španjolska, 2021. str. 155-155 (predavanje, međunarodna recenzija, sažetak, znanstveni)
CROSBI ID: 1252219 Za ispravke kontaktirajte CROSBI podršku putem web obrasca
Naslov
Visual Construction of Modernity: The Case of
Cinematography of Socialist Yugoslavia
Autori
Antonina, Luka
Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni
Izvornik
Abstract Book - 15th ESA Conference - "Sociological Knowledges for Alternative Futures"
/ - , 2021, 155-155
ISBN
978-2-9581586-0-6
Skup
15th ESA Conference - "Sociological Knowledges for Alternative Futures" (15. Konferencija Europskog sociološkog društva)
Mjesto i datum
Barcelona, Španjolska, 31.08.2021. - 03.09.2021
Vrsta sudjelovanja
Predavanje
Vrsta recenzije
Međunarodna recenzija
Ključne riječi
modernity, cinematography, socialist modernism, discursive strategies
Sažetak
The largely state-funded film art system of the former socialist Yugoslavia was a vital and productive one, albeit still largely underexplored by the historians of art and sociologists. Owing to the specific position (the Non-Aligned movement founding member) that this former socialist federation of states occupied in the geopolitical constellation of powers during the so-called Cold War period, this allowed for a rich and heterogeneous cinematographic experience, ranging from the offical state-funded war spectacles on a Hollywood scale of production to the more intimately focused works boldly treading into new territories, that sometimes fell out of line and favour from the ruling Communist Party. The aim of this paper is to disclose predominant narrative strategies and visual patterns of representation in some of those films, while analyzing them through the prism of modernity as a cultural paradigm or, more specifically, against cultural (cinematic) practices of socialist modernism and its various aspects. Starting from Eisenstadt's thesis on multiple modernities, such historically- oriented, macro-sociological perspective on film art production and mediation should allow for new explanations of discursive strategies employed by the actors involved in different aspects of cinematic production, distribution, reception and consumption in former Yugoslavia.
Izvorni jezik
Engleski
Znanstvena područja
Sociologija, Interdisciplinarne društvene znanosti, Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika)
