Southeast European documentary film. Subjective incursions

ISBN: 978-606-28-1043-6

DOI: 10.5682/9786062810436

Publisher year: 2019

Edition: I

Pages:

Publisher: Editura Universitară

Author: Sabina Pop

Product Code: SKU-11926 Do you need help? 0745 200 718 / 0745 200 357
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Sabina Pop

The Southeast documentary is fascinating, rich, alive, intelligent, ironic, emotional, a nugget of gold that has not yet shown its full value. And it is not even known to its value.
Starting from this, the paper asks if there is a particular, specific way in which documentary film is understood and made in this geographical area, identifies and refers to cinematic language features similar to these countries and emphasizes the forms - how many were - collaboration, co-production and cooperation in the field of audiovisual in this area with emphasis on the regional collaborations of the Romanian documentary. Because, intensifying these forms of "working together" would be a chance for this area in many ways.
I dare say it is a pioneering endeavor for several reasons:
There are few written materials specifically dedicated to the relations of collaboration, cooperation and co-production of the Romanian audiovisual with the South-East European space, about the documentary film even less, and about television, to my regret, no mention.
Except for a few. but valuable references to documentaries in works about the Balkan film and brief web information, rather conspicuous, but which were of real use to me, the Southeast is, in the field of documentary, a subject that is still waiting to unfold. I am especially grateful to Marian Tutui for knowing so much about the Balkans and for giving me the exemplary chance to confront opinions and ideas about the Southeast.

Many of the countries in this geographical area do not have synthesis works related to their own documentary film. The works that still exist are available, most of the time, only in the language of the country to which the work refers. Of course, this has made it somewhat difficult to study and receive these materials, given that the languages ​​used in this geographical area have a limited spread and in some situations do not use the Latin alphabet.
There are also few synthesis works that offer a perspective from the interior, southeast. The article by German film critic Bernd Buder remains for now, one of the few essays specifically dedicated to Southeast European documentary film.
I am aware, therefore, that there will be many things to add, correct and nuance by those who will focus on the field; and I'm sure these researchers won't be long in coming. In the absence of several written synthesis materials, the present paper aims to be only a series of subjective incursions having as support two elements: My doctoral thesis “Romania within the South-East European cooperation in audiovisual.
Documentary focus "- 2010 - coordinated by Mrs. Manuela Cernat, PhD, a paper on which the present lines are based and I take it to a large extent, thus referring to realities and contexts at the time it was written, ( for example, we kept the name FYROM in force at that time.) A second pillar was his own experience gained for 25 years as a documentary filmmaker involved in several collaborations - co-productions - South-East European cooperation, including through the coordination of the Secretariat. TELE-SEE - Network of Public Broadcasters of South-East Europe.
I am very grateful for the fact that, working in TELE-SEE, I had the opportunity to meet filmmakers and television producers of great value from the Balkans, to participate in the realization of approx. 50 TV programs, approx. 30 minutes - co-productions between different televisions in South-Eastern Europe and to discover a fabulous value, the South-Eastern documentary and the Balkan film schools…
 

FOREWORD / 5
CHAPTER 1
BALKANS AND SOUTHEAST EUROPE - HISTORICAL AND SOCIO-POLITICAL CONTEXT - / 9
1.1. Balkans and geopolitics / 9
1.2. "To be in or to be out" - Balkanism / 14
1.3. The Balkans and the South-East: Some Geostrategic Concepts and Policies / 17
1.4. Historical context and security in the Western Balkans / 20
CHAPTER 2
BALKAN FILM, SOME CHARACTERISTICS / 27
2.1. Some general features / 27
2.2. Pioneers of Southeast European Documentary: Balkan Photographers and Filmmakers, Manakia Brothers / 31
2.3. Advantages and fears of Southeast Europe / 34
2.4. Co - production - a seductive love / 41
2.5. Balkan documentary / 50
2.5.1. Themes, motives, clichés / 52
2.5.2. Cinematic language / 55
2.5.3. Film Industry / 58
CHAPTER 3
SOUTHEAST EUROPEAN CINEMATOGRAPHY / 62
3.1. Albania / 62
3.2. Bosnia and Herzegovina / 71
3.3. Bulgaria / 78
3.4. Croatia / 87
3.5. Greece / 92
3.6. FYRO Macedonia / 96
3.7. Montenegro / 100
3.8. Serbia / 106
3.9. Turkey / 110
3.10. ROMANIA within the cooperation of TELE-SEE (Network of Public Broadcasters of South-East Europe) / 116
3.10.1. TELE-SEE, an adventure in partnership / 117
3.10.2. TELE-SEE - The initial concept of the program / 120
3.10.3. TELE-SEE - A success story? Case study / 123
ANNEXES / 130
BIBLIOGRAPHY / 140
 

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